Skip to main content

Full text of "Catalogue of the art and literary property collected by the late Henry G. Marquand [electronic resource]"

See other formats 


SALE AT MENDELSSOHN HALL 
ON THE EVENING OF FRIDAY, JANUARY 23RD, 1903 

AND CONTINUING 

AT THE AMERICAN ART GALLERIES 

ON THE AFTERNOONS OF JANUARY 2 4 th, 26th, 27™, 
28th, 29TH, 30TH, and 3 ist, AND EVENINGS OF JANUARY 

28VH, 29TH, AND 3OTH. 



THE 

HENRY G. MARQUAND 
COLLECTION 



ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 

MADISON SQUARE SOUTH, NEW YORK, FROM WEDNESDAY, 
JANUARY i 4 th, UNTIL THE DAY OF SALE, INCLUSIVE 



CATALOGUE 

OF THE 

ART AND LITERARY 
PROPERTY 

COLLECTED BY THE LATE 

HENRY G. MARQUAND 

EDITED BY THOMAS E. KIRBY 



THE ENTIRE COLLECTION TO BE SOLD 
AT UNRESTRICTED PUBLIC SALE BEGIN- 
NING JANUARY TWENTY-THIRD, 1903, BY 
ORDER OF THE EXECUTORS, UNDER 
THE MANAGEMENT OF 



The American Art Association 

NEW YORK 

Frlck Art Reference Library 



CorvticHT, 1903, »v 
THE AMERICAN ART ASSOCIATION 
N«w Yok 

[All right* rturvtd] 



INTRODUCTORY 



The Marquand Collection of works of art was beyond measure attractive 
to the enthusiastic student, because of its variety, and also because of the certainty 
one felt that each piece was the finest, or very nearly the finest, piece obtainable. 
It is the student of art to whom it appealed. An arch:Eologist, a historian, might 
find his needs better served in one of those private collections where a single aim 
is followed exclusively; but for him who longed for the European wealth and 
abundance of sensations, and who hardly expected to find them in America, 
Henry Gurdon Marquand's house was a comforting place to visit. He bought 
like an Italian prince of the Renaissance. He collected for his own delight 
and for the enjoyment and instruction of his many friends. A noble Van Dyck 
portrait appealed to him, and so did a Persian vase. He was the most eager 
purchaser of a single newly found gem of antique art; he would chase the 
elusive thing with more energy than another, and therefore he secured the prize. 
He felt also the impossibility of understanding a branch of art, or a special 
manufacture, or mode of design, without having many pieces to represent and 
to explain it, and so he bought largely along some chosen lines. At one period 
he found that the ancient enamels of Limoges were growing rare, and he 
perceived that, rare and costly then, they would soon be unattainable, and he 
bought much and wisely in that direction. On the other hand, he saw that the 
Hispano-Moresque dishes, which had never been especially sought for, and which 
had not reached very high prices twenty years ago, were as important and as 
suggestive works of industrial art as what was more eagerly pursued and more 
extravagant in price, and he brought together a great collection of those platters. 

Still, in the line of princely buying, the adornment of his house was not 
lost sight of. The pieces brought together were, indeed, not always of that 
character that they would make a large room more splendid. Many of them 
were delicate little objects for the cabinet. You cannot adorn a room with 



Japanese lacquers of price, because they are small; because their forms are 
simple and square ; because their color is never vivid ; because, moreover, they 
must be kept shut up, or their beauty will soon be marred. Persian glass, too, 
more fantastic in form and less translucent than even the most decorative glass of 
Europe, is still matter for the wall-case. But tapestries have for their very object 
the adornment of high-walled and stately apartments, and the walls of the great 
hall were hidden by tapestries of choice. Persian and Spanish tiles were 
especially devised and made to glow upon the wall, and, accordingly, one room 
of the principal suite was lined with them, making it a quasi-Moorish room ; 
while other such tiles, set in large frames, adorned the halls and the stairway. 
Chinese porcelain, and particularly that which is of solid color, in which each 
beaker, each bottle, each potiche, is a graceful form, wrought, as it appears, in 
solid blue or in changeable green, is exceptionally decorative, and if used with 
perfect good taste is, perhaps, more immediately effective in the adornment of -« 
a room than are any other work of man. Levantine and Persian rugs are as 
decorative as European tapestry, and even more splendid in color; and the 
collection of such rugs deserves, and has received, minute analysis and description 
in this catalogue. Italian Cassoni are the most ornamental pieces of furniture 
known, and here were several magnificent specimens of the best period. The 
grave and majestic painting of the seventeenth century, framed in the stately way 
which the first owners of the pictures knew and loved, is, of course, the most 
decorative of all decorations ; and there were such paintings, and their framing, 
as well as noble canvases of the eighteenth century. And, finally — because this 
enumeration cannot be continued forever, or as long as the varieties of this noble 
collection hold out — modern painting of decorative significance was used in 
the furnishings of such stately rooms as the drawing-room, where Sir Alma- 
Tadema and Lord Leighton gave a classical turn to their decorative compositions, 
to harmonize with the Greek vases and terra-cotta groups, and the Gneco- 
Roman marbles. 

The consequence is that the separate rooms of the house at Madison 
Avenue and Sixty-eighth Street were marvels of splendid variety, differing in 
nothing from the palace interiors which we dream of as existing in the great 
times of creative art, except in the more moderate size of the apartments, and 
the resulting effect of brilliant confusion, which the eye could resolve, little by 



little, into its coherent parts. It was not really confusion; it was profusion. 
The splendor of one rich work of art need never do harm to the tranquil 
sweetness of another. He must be a far less sagacious student of art than was 
the owner of these treasures, If it be ever found in his beloved rooms that 
there is too much of anything, no matter how much there may be. 

RUSSELL STURGIS. 



The Catalogue has been compiled and the descriptions furnished by the 
gentlemen whose names are given below : 

Mr. Charles H. Coffin has catalogued the Paintings and the Tapestries ; 
Mr. Tozo Takayanagi, the Japanese Pottery and Lacquers; Mr. John K. Mum/ord, 
the Oriental Rugs; Mr. Roger Riordan, the Limoges Enamels; Greek, Roman, 
and other Glass ; Greek Ceramics, and Work in Metals; Dr. George N. Olcott, 
Columbia University, the Intaglios and Gems; Mr. FitzRoy Carrington (Frederick 
Keppell & Co.), the Engravings and Etchings ; and Mr. J. O. IV right, the Books. 
The translations are by Professor Richard J. H. Gottheil and Professor Abraham 
Yohannan, of Columbia University. 



CONDITIONS OF SALE 



1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute 
shall be immediately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid 
which is merely a nominal or fractional advance, and there- 
fore, in his judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money, if required, in default of which the Lot or Lots so 
purchased to be immediately put up again and re-sold. 

4. The Lots to be taken away at the Buyer's Expense and 
Risk upon the conclusion of the Sale, and the remainder ot 
the Purchase-money to be absolutely paid, or otherwise 
settled for to the satisfaction of the Auctioneer, on or before 
delivery; in default of which the undersigned will not hold 
themselves responsible if the Lots be lost, stolen, damaged, 
or destroyed, but they will be left at the sole risk of the 
Purchaser. 

5. While the undersigned -will not hold themselves re- 
sponsible for the correctness of the description, genuineness , 
or authenticity of, or any fault or defect in, any Lot; and 
make no Warranty whatever, they will, upon receiving 
previous to date of Sale trustworthy expert opinion in 
writing that any Painting or other Work of Art is not what 
it is represented to be, use every effort on their part to fur- 
nish proof to the con trary, failing in which, the object or 
objects in question will be sold subject to the declaration of 
the aforesaid expert, he being liable to the Owner or Owners 
thereof, for damage or injury occasioned thereby. 

6. To prevent inaccuracy in delivery, and inconvenience 
in the settlement of the Purchases, no Lot can, on any account, 
be removed during the Sale. 

7. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited; all Lots 
uncleared within one day from conclusion of Sale shall be 
re-sold by public or private sale, without further notice, and 
the deficiency (if any) attending such re-sale shall be made 
good hy the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to 
the right of the Auctioneer to enforce the contract made at 
this Sale, without such re-sale, if he thinks fit. 

THE AMERICAN ART ASSOCIATION, 

Managers. 

Thomas E. Kirby, 

Auctioneer. 



ORDER OF SALE 



ON FRIDAY EVENING, JANUARY 2 3 rd, 1903 

AT MENDELSSOHN HALL, Fortieth Street, East of Broadway, beginning promptly at 8.30 
o'clock. THE VALUABLE PAINTINGS AND WATER COLORS. Catalogue Nos. 1 to 93, 
inclusive. 

SATURDAY AFTERNOON, JANUARY 2 4 th 

AT THE AMERICAN ART GALLERIES, Madison Square South, beginning promptly at 3 o'clock. 
ANTIQUE CHINESE PORCELAINS. Catalogue Nos. 101 to 255, inclusive. 

MONDAY AFTERNOON, JANUARY 26™ 

AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o'clock. ANTIQUE 
CHINESE PORCELAINS AND JAPANESE LACQUERS. Catalogue Nos. 256 to 416, inclusive. 

TUESDAY AFTERNOON, JANUARY 27™ 

AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o'clock. TEA JARS AND 
BOWLS, ANTIQUE JAPANESE AND CHINESE POTTERY AND BRONZES. Catalogue 
Nos. 417 to 638, inclusive. 

WEDNESDAY AFTERNOON, JANUARY 28th 

AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o'clock. CABINET OBJECTS. 
NETSUKES, EUROPEAN CERAMICS, AND ANTIQUE SILVER. Catalogue Nos. 639 to 816, 
inclusive. 

WEDNESDAY EVENING, JANUARY 28™ 

AT THE AMERICAN ART GALLERIES, beginning promptly at 8 o'clock. RARE MEZ- 
ZOTINTS AND ETCHINGS. Catalogue Nos. 1407 to 1504, inclusive. 

THURSDAY AFTERNOON, JANUARY 29™ 

AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o'clock. ANTIQUE 
GREEK, ROMAN, PERSIAN, SPANISH, VENETIAN, FRENCH, AND OTHER GLASS; 
LA FARGE MOSAIC GLASS PANEL; ANTIQUE GREEK CERAMICS, TERRA-COTTA 
STATUETTES, AND OTHER ANTIQUITIES; ANTIQUE PERSIAN, DAMASCUS. AND 
RHODIAN WARES. Catalogue Nos. 817 to 1032, inclusive. 

THURSDAY EVENING, JANUARY 29™ 

AT THE AMERICAN ART GALLERIES, beginning promptly at 8 o'clock. FINE ART AND 
OTHER BOOKS. Catalogue Nos. 1505 to 1S22, inclusive. 

FRIDAY AFTERNOON, JANUARY 30TH 

AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o'clock. BRONZES AND 
OTHER METAl. WORK; EXTRAORDINARY LIMOGES AND OTHER ENAMELS : 
INTAGLIOS AND OTHER GEMS, SNUFF-BOXES, AND WATCHES; RARE AND 
BEAUTIFUL ANTIQUE TILES; HISPANO-MORESQUE AND OTHER PLAQUES; RE- 
MARKABLY FINE DELL A ROBBIA TERRACOTTAS; ANTIQUE ROMAN MOSAIC, 
MARBLE STATUARY, AND OTHER OBJECTS. Catalogue Nos. 1033 to 1214, inclusive. 

FRIDAY EVENING, JANUARY 3 oth 

AT THE AMERICAN ART GALLERIES, beginning promptly at 8 o'clock. FINE ART AND 
OTHER BOOKS. Catalogue Nos. 1823 to 2154, inclusive. 

SATURDAY AFTERNOON, JANUARY 3 ist 

AT THE AMERICAN ART GALLERIES, beginning promptly at 2.30 o'clock, concluding 
salt. EXTRAORDINARY ANTIQUE ORIENTAL RUGS; GRAND GOBELINS, FLEMISH, 
RENAISSANCE, AND PORTUGUESE TAPESTRIES; ANTIQUE EMBROIDERIES AND 
TEXTILES; THE FAMOUS " ALMA-TADEMA PIANO"; ARTISTIC ANTIQUE AND 
MODERN FURNITURE, DRAPERIES, AND MISCELLANEOUS OBJECTS. Catalogue 
Nos. 1225 to 1406, inclusive. 



BIOGRAPHICAL NOTES AND INDEX 



Born in Philadelphia, 1852. After completing the course at the Pennsylvania 
Academy he accepted an engagement with the publishing house of Harper & Brotliers. 
His drawings in illustration of Herrick's poems and of the old English comedies 
established at once the charm and originality of his method in black and white, and 
were followed by a series of Shakespearean drawings. Visiting England in 1883 
in search of material for these drawings, he took up his abode there, and has for many 
years resided at Fairford Hall in Oxfordshire. His skill in water colors is remark- 
able; and when he turned his attention to oil painting he speedily won recognition 
in that medium also. His favorite subjects have been drawn from old English a)id 
Italian sources, especially from Shakespeare, and lie is to-day the foremost painter 
of historical subjects among English-speaking artists. The Trustees of the Boston 
Library awarded him a commission for the decoration of the Delivery Room, in 
which he has commemorated scenes from the Legend of the Holy Grail, and, more 
recently, he received an appointment from tlie King of England to paint the picture 
of the Coronation ceremony. 



ABBEY (Edwin Austin), n.a., r.a. 



22 — Mariana: Measure for Measure 




ALMA-TADEMA (Laura) 

Wife of Sir Laurence Alma-Tadema, nee Miss Laura Epps. 

46 — In Good Hands 



ALMA-TADEMA (Sir Laurence), r.a. 

Born at Dronryp, Friesland, 1836. He was educated at the gymnasium of 
Leeuwarden, where he conceived a passion for Egyptian and Grceco-Roman arche- 
ology. Later he entered the Antwerp Academy, and also studied under Baron Leys. 
He began to exhibit at the Royal Academy in 1865, and five years later married Ahss 
Laura Epps, an English lady, moved to London, and built himself a noble Pompetan 
house in St. John's Wood. He is an officer of the Legion and a member of the 
Academies of Amsterdam, Munich, Berlin, Stockholm, Vienna, and Madrid. He 
was elected a Royal Academician in 1879. No modern painter has a profounder 
knowledge of the form and fashion of the antique world, or has reproduced it with 
more charm of verisimilitude. 

45 — " Amo te, ama me" 

88 — A Reading from Homer 

BARILLOT (Leon) 

Born at Montigny-les-Metz, Lorraine, France, 1844. A pupil of Bonnat, he 
won the gold medal at the Exposition Universelle of 1889, the Grand Prix at the 
Exposition Universelle at Lyons in 1895, an d is represented in the Luxembourg and 
many of the museums in France. 

62- — Cows Drinking 

BECKWITH (J. Carroll), n.a. 

Born at Hannibal, Missouri, 1852. A pupil of Carolus Duran and of the £coI* 
des Beaux Arts, he first made his reputation in this country by a figure subject, 
" The Christian Martyr," exhibited in the National Academy in 1881, and has since 
obtained distinction as a portrait painter. 

77 — A Summer Evening 

BENSON (Eugene), a. n.a. 

Born at Hyde Park, New York, 1839. At first a pupil of the National Acad- 
emy, and of J. H. Wright, he later studied in Paris and Venice. He has made long 
stays in Italy, painting particularly in Florence, Venice, and Rome. 

65 — At Biri Grande 



BLASHFIELD (Edwin Howland), n.a. 

Born in New York, 1848. Visiting Europe in 1867, he studied with Bonnat, 
and remained abroad eleven years, spending a considerable time in Italy. His 
work has included figure subjects and mural decoration. In the latter metier he 
executed some panels as far back as 1884, received a commission at the Chicago 
World's Fair, and since that date has been steadily employed upon important works 
in public buildings and private houses. 

82 — The Sculptor's Model 



BODMER (Karl) 

Born in Zurich, Switzerland, 1805. A pupil of Cornu, he devoted himself 
to landscapes, and particularly to wooded ones. In company with Prince Von 
Neuwied he visited America. He was awarded the Ribbon of the Legion in 1876. 

47 — A Pool in the Forest 



BOUGHTON (George H.), n.a., a.r.a. 

Born near Norwich, England, 1834. He was brought, when three years old, to 
the United States, tlie family settling at Albany, N. Y. As a boy he taught himself to 
draw and paint, and in 1853 was able to make a sketching tour through the English 
Lake country, Scotland, and Ireland. In 1858 he moved from Albany to New York, 
and two years later went to Paris, where he enjoyed the friendship of Edouard 
Frere. Since 1861 he has made his home in Lo>idon, where, in the Royal Academy 
Exhibition of 1863, he made his first notable success with "Through the Fields" 
and " The H op-Pickers Returning." He has shown a partiality for subjects derived 
from the early days of the American colonies, and these have won him an enviable 
reputation on both sides of the Atlantic. 

68 — Black-eyed Susan 

84 — The Cronies 

86 — Marvell's Last Visit to Milton 

93 — A Golden Afternoon, Luccombe Chine, Isle of Wight 



CAIN (Georges Jules Auguste) 

Born in Paris, 1856. A pupil of Cabanel and Detaille, he gained a bronze 
medal at the Exposition Universelle of 1889, and has collaborated in all the great 
illustrated journals of Paris, and has illustrated several books, 

51 — His Eminence 

CHURCH {F. S.), n. a. 

Bom at Grand Rapids, Michigan, 1842. He first studied at the Chicago School 
of Art, and later at the School of the National Academy ; but his theory and practice of 
color, like the fanciful treatment of animals which provided him with subject, are 
thoroughly original. He is a member of the National Academy, of the American 
Water-Color Society, and of the New York Etching Club. 

71 — The Enchantress 



COLE (Thomas), n.a. 

Born at Bolton-le-Moor, England, 1801. He came with his family to the 
United States when he was eighteen years old, and settled in Ohio. Here he learned 
the rudiments of painting from a portrait painter named Stein, and, after studying 
nature under great difficulties, made his way to New York in 1825, bringing himself 
gradually into notice by his pictures of the Hudson. He made several visits to 
England, France, and Italy, and his pictures were as much appreciated in the first- 
named country as in that of his adoption. Especially popular were his two series 
of allegorical pictures, " The Course of Empire" and " The Voyage of Life." He 
died near Catskill, New York, in 1848. 

81 — A Roman Aqueduct 

COLEMAN (Charles Caryll), a. n.a. 

Bom at Buffalo, New York, 1840. He visited Europe in 1859, and again 
in 1866, since which date he has resided abroad, having a studio in London for some 
time, and then settling in the Island of Capri. 

74 — A Capri Meadow 
75 — A Scene in Capri 



COLMAN (Samuel), n.a. 

Born in Portland, Maine, 1832. With some assistance from A. B. Durand 
his early training was self -acquired. In i860, after being elected an Associate of 
the National Academy, he set out for two years' study in Paris and Spain. Again, 
in 1871, he made an extensive tour of study in Europe and North America. In 
1866 he was elected first president of the American Water-Color Society, a position 
which he held for five successive terms. 

18 — Grand Canon of the Colorado 



CONSTABLE (John), r.a. 

Born in 1776, at East Bergholt, Sussex, fourteen miles from the birthplace of 
Gainsborough. Son of a well-to-do miller, he was destined for the Church, but pre- 
ferred the occupation of his father, meanwhile receiving instruction in drawing 
from a certain Dunthorne, who gave his instruction always in the open air. Finally 
deciding to be a painter, lie entered the Academy schools at the age of twenty-four, 
and exhibited his first picture two years later. He studied the works of Ruysdael 
in the National Gallery, from which he came to the conclusion that London could 
help him little in his art, and that it was nature which tie must study, and particu- 
larly nature along the banks of his native Stour, which in after years he averred had 
made his desire to be a painter. He set himself right in the midst of green land- 
scape, and was the first to remove every kind of adaptation and arbitrary arrange- 
ment in composition, and to paint not only what lie saw, but in such a way as to 
convey the impression of how he saw it. Especially did he advance the study of 
light and air, and for the first time the atmosphere moves and has its being in painted 
landscape. He was ahead of his time, anticipating the triumphs of the painters 
of Barbizon, on whom his influence was undeniable. He was happily married, 
and a legacy to his wife, sufficient for their modest needs, enabled him to work, as he 
said, for the future. He was elected to the Royal Academy in 1837. His faith in 
the judgment of posterity has been abundantly justified, and he is tww recognized as 
the first and one of the foremost masters of the paysagc intime. 

35 — Dedham Vale 



COROT (Jean Baptiste Camille) 

Born in Paris, 1796. The son of a court modiste, Corot was destined for trade, 
but at length was permitted to study art by his father, who allowed him an annuity 
of twelve hundred francs. From the studio of Michallon he passed to that of Berlin, 



with whom he also made his first visit to Italy. With figure subjects and landscape 
in the classical manner he made his entrance at the Salon and obtained sundry 
honors In 1843, however, after his return from his third visit to Italy, lie came 
under the influence of Rousseau and was led by him to recognize the beauty of the 
French landscape. Though nearly fifty, he set to work as a student, and during 
the next eight years gradually reached that style of delicate truth to nature and of 
exquisite poetry, in which he is unapproachable. Twenty-five years were still in 
store for him, and during these he produced his master pieces. Devoted to music 
and to his friends, Pere Corot retained his youth to the end, which came peacefully 
in 1875. 

37 — Classic Landscape 



COX (Kenyon), N.A. 

Born at Warren, Ohio, 1856. After studying at Cincinnati, he proceeded to 
the schools of the Pennsylvania Academy, whence he advanced to the studios of 
Carolus Duran and Gerbme. His stay in Europe extended from 1877/01882, when 
he returned to New York, where he has been actively engaged as a teacher and 
painter and in literary work dealing with artistic subjects. 

79 — On the Edge of the Brook 

CROME (John), ("Old Crome") 

Born at Norwich, 1769. The son of a journeyman weaver, he was in due 
course apprenticed to a coach painter. His spare time was spent in drawing 
the scenery around his native city, and after the expiration of his apprenticeship 
he determined to be a painter. He eked out his scanty resources by giving lessons 
in drawing and painting. In 1805 he founded tlie Norwich School of Art 0) 
which Vincent, Stark, and Cotman were the other leading representatives. In later 
life he visited Paris and studied with eagerness the Dutch landscapes in the Louvre. 
Hobbema was his idol, and his own work is a direct and exact realism, pictonaUy 
arranged in a harmony of brown tones under the influence of the Dutch. Me 
painted with extraordinary skill, and had a special fondness for the oak. He dtea 
in the city where he had spent his whole life, in 182 1. 

27 — Landscape with Cottage 
33 — Old Mill on the Yare 



38 — The Porlington Oak 



DECAMPS (Alexandre Gabriel) 

Born in Paris, 1803. At first a pupil of David and Ingres, he freed himself 
from classic principles of style and from imitation of the antique. As a boy he 
had spent several years upon a farm, and the love of nature was strong within him. 
In 1827 he accompanied Garneray, a marine painter, to Constantinople and Asia 
Minor, and his journey proved a voyage of discovery for French painting. H e dared 
to paint what he saw, and saw everything through the vision of a true painter, fasci- 
nated by color and light, and in a spirit of dreamy mystical poetry. His death 
occurred at Fontainebleau in i860. 

41 — Landscape 
44 — The Beggar 

DESCHAMPS (Louis) 

Born at Montelimar , France, 1846. Pupil of Cabanel at the Ecole des Beaux 
Arts, he has exhibited at the Salon since 1875. Represented in the Luxembourg. 
Bronze medal, Exposition Universelle, 1889. 

56 — An Appeal 

DESGOFFE (Blaise Alexandre) 

Born in Paris, 1830. Pupil of Flandrin, and a most skilful delineator of 
objects of still life at near view, his subjects being finished with microscopic 
exactness. 

48— Still Life 

DUTZSCHHOLD (Henri) 

Born in Paris, 1841. Landscape painter, pupil of Gtrbme and Veron. Medal 
of the third class, 1882. 

63 — Ruins of a Roman Theatre 



ELEY (May) 
21 — Children and Puppy 



ETTY (William), r.a. 

Born at York in 1787. After serving apprenticeship to a printer in Hull, 
tie visited an uncle in London, through whose generosity he was enabled to enter 
the Academy schools and to become a pupil of Lawrence. He persevered in the 
face of great difficulties, and finally, in 1811, had a picture accepted at the Royal 
Academy Exhibition. In 182a he visited Italy, and in 1828 was elected a Royal 
Academician. He died unmarried, in 1849. 

57— The Toilet ] 

FARNETZ (I.) 

64 — A River Scene 

FRAN(pAIS (F. L.) j 

Born at Plombieres (Vosges), 181 4. Pupil of Gigoux and Corot. Received 
a medal of third class, 1841; first class, 1848, 1855, and 1867. Medal of honor, 
1878; Legion of Honor, 1853, and was made an officer of the same, 1867. 

60 — Landscape 

FRERE (Edouard) ] 

Born in Paris, 1819. He was a pupil of Paul Delaroche and of the Ecole des 
Beaux Arts, but it was in retreat at the little village of Ecouen that he gradually 
evolved for himself and the many students who sought his advice the style of genre 
painting that distinguishes him. It was founded upon the Dutch masters and 
influenced in feeling by Millet — simple scenes of peasant life, studied with affec- 
tionate intimacy, and represented with delicacy of tone and light; sometimes a little 
sentimental, but for the most part tenderly poetic. His pictures had a great vogue, 
ami no little influence upon tlie course of genre painting in Europe. He died in 1886. 

59 — Youthful Curiosity 

FROMENT (Eugene) 

Born in Paris, 1820. Pupil of Jollivet, Lecomte, and Amaury-Duval. Legion 
of Honor, 1863. 

52 — A Spray of Loves 



GAINSBOROUGH (Thomas), r.a. 



Born at Sudbury, in Suffolk, 1727. He attended tlie local grammar school, 
but making small progress in learning, was placed with a goldsmitlt in London, 
who introduced him to Gravelot, an engraver. The latter instructed him in drawing, 
and obtained for him admission to the St. Martin's Lane Academy. After study- 
ing for three years he hired rooms in Hatton Gardens, and, while waiting for 
customers, executed a few small landscapes which he sold to the dealers. Meeting 
with no success in London, he returned to Sudbury in 1745, and married Mary 
Burr, ivho had an annuity of two hundred pounds. After living fifteen years in 
Ipswich, he moved to Bath, where his success as a portrait painter was pronounced. 
During the fourteen years of his stay in that city he contributed regularly to the 
Royal Academy exhibitions, so that when he migrated in 1784 to London and 
rented part of Schomburg House, Pall Mall, he was welcomed as the rival of 
Reynolds in portraiture and of Wilson in landscape. He was devoted to music and 
the simple delights of domestic life. In 1788, upon his deathbed, he sent for Sir 
Joshua. ''We are all going to heaven," he whispered, "and Van Dyck is of the 
party." By his request he was buried in the churchyard at Kew. 



Born on the Island of Naiishon, Massachusetts, 1840. In 1864 he sttidied in 
New Bedford under the marine painter, Albert van Beest, and two years later 
settled in New York, where he practised as a landscape painter and etcher. He 
made sketching tours in California and Oregon in 1869, and through Europe and 
North Africa in 1870, and again four years later. He was one of the founders of 
the American Water-Color Society in 1866, and-is also a member of the British 
Society of Painter-Etchers. 



23 — Shepherd Boys 



GIFFORD (R. Swain), n.a. 




GOB (R.) 

49 — The Moon 



HOPPNER (John), r.a. 

Born in Whitechapel, London, 1759, of German descent. At first a chorister 
in the Chapel Royal, lie studied art at the Academy schools, became an Associate of 
the Royal Academy in 1793, and a full member a few years later. Under the 
patronage of the Prince of Wales he rose rapidly as a fashionable portrait painter, 
and fjpund a rival only in Lawrence. Basing his style upon that of Sir Joshua 
Reynolds, he maintained, notwithstanding, an originality of his own, and was 
particularly happy in his rendering of women and children. In 1803 he published 
"A Series of Portraits of Ladies of Rank and Fashion," engraved from his own 
paintings. His death occurred in 1810. 

29 — Portrait of Young Shelley 

31 — Portrait of Lady Almeria Carpenter 

3G — Portrait of Mrs. Gwyn 

JOHNSON (Eastman), n.a. 

Born in Ijyvell, Maine, 1824. While quite young lie executed portraits in 
crayon, atui in 1845 was working at Washington, and later at Cambridge and Boston. 
In 1849 he went abroad and studied under Leutze at Di'tsseldorf, afterwards paint- 
ing in Italy, Paris, and The Hague. Returning to New York, he was elected an 
Academician in i860, and established his reputation both in portraiture and genre 
subjects, representing scenes in American life. 

58 — The Dull Scholar 

KEAJDER (A.) \ 

72 — Flowers 

KENSETT (John Frederick), n.a. 

Born in Cheshire, Connecticut, March 22, 1818 ; died in New York, December 
10,1872. Landscape painter. After studying engraving under Daggett, he spent 
seven years abroad (1840-1847), painting in England, Rome, Naples, Switzerland, 
on the Rhine, and among the Italian lakes. First exhibited at Royal Academy, 
London, in 1845. Elected National Academician in New York in 1849. /» 
1859 he was appointed member of the commission to superintend tite decoration of 
the Capitol at Washington. 

37 — Windsor Castle 



LEIGHTON (Sir Frederick, Bart.), p.r.a. 

Born at Scarborough, England, 1830. When eleven years old he learned draw- 
ing in Rome under Francesco Melt, and later pursued his studies at the Academies 
of Berlin and Florence; under E. Steinle, Frankfort; at Brussels, and at the Louvre 
Life School in Paris. In 1855 he sent to the Royal Academy " Tlte Procession of 
Cimabue, " which was purchased by the Queen. After this success lie resided for 
four years in Paris, studying part of the time under Ary Scheffer and sending 
pictures to the Royal Academy. He was elected an Associate in 1864, and an 
Academician in 1869 ; nine years later being knighted upon his election as President. 
In 1885 he was created a baronet. He travelled extensively, was a fine sculptor and 
musician, a linguist, and accomplished man of the world, and his studio at Ken- 
sington was filled with treasures of art. He died in 1896, and was buried in St. 
Paul's Cathedral. 

90, 91, 92 — A Mythological Triptych Illustrating Music 

LORING (M.) 
13 — Schooner at Low Tide 

MADRAZO (Raimundo de) 

Born in Rome, 1841. First instructed by his father Federico, head of the 
Spanish Academy in Rome, he afterwards entered the Ecole des Beaux Arts in 
Paris, and also studied under Leon Cogniet. In 1878 lie was awarded a medal of 
the first class and the Ribbon of the Legion. A brother-in-law of Fortuny, he 
exhibits much of the hitter's skill in scintillating color, atul can lavish on his pictures 
a captivating rococo grace, or introduce with taste and deftness symphonic schemes 
of color, as in the "Girl in Red," exhibited at Munich in 1883, or in tfie "Pierrette" 
of the Exposition Universale of 1889. 

50 — St. Elizabeth of Hungary 
85 — A Spanish Beauty 

MARTIN (Henri Jean Guillaume) 

Born at Toulouse, he became a pupil of Jean Paul Laurens. He received a 
medal of the first class, 1883, and a gold medal at the Exposition Universelle of 
1889 and of 1900, and the Ribbon of tlte Legion in 1898. 

76 — Sunshine and Shadow 



MEMPES (Mortimer L.) 

An English painter of retnarkable versatility, who has travelled much and dis- 
tinguished himself as an etcher, as well as in oil and water color. 

1 — Treasure Trove 

3 — Waiting for the Boats 

MERSON (Luc Olivier) 

Born at Paris, 1846. A pupil of Pils at the Ecole des Beaux Arts, he won 
the Grand Prix de Rome in 1869. He was awarded a gold medal at the Exposition 
Universelle of 1889, and since 1892 has been a member of the French Academy of 
the Fine Arts. • 

80— Diana 



MILLET (Frank D.), n.a. 

Born at Mattapoisett, Massachusetts, 1846. He studied under Van Lerius 
and de Keyser at the Antwerp Academy, where lie gained medals of honor in 1873 
and 1873. He travelled and painted in Belgium, Italy, France, and Austria, and 
at the Expositions of 1878 and 1900 represented America on the Art Jury. Ht 
acted as war correspondent for a London daily during the Russo-Turkish War, 
and more recently filled a similar position for " Harper's Weekly " at Manila. For 
many years he has made his home in tlte little village of Broadway, in Worcester- 
shire, England. 

2 — Roman Maiden 
67 — A Knickerbocker Citizen 



MOROT (Aime Nicolas) 

Born at Nancy, 1850. Pupil of Cabanel at the Ecole des Beaux Arts, he won 
the Grand Prix de Rome in 1875 ; Medal of Honor, 1880 ; Grand Prix at tht 
Exposition Universelle, 1889. 

83 — When the World was Young 



PARSONS (Alfred), a.r.a. 

Born in Somersetshire, England, 1847. An exquisite draughtsman, he was 
jor some time a contributor to "Harper's Magazine.'" With the exception of a 
•visit paid to Japan he has painted chiefly in England. 

7 — Eton College 
9 — Tintern Abbey 
20 — An English Landscape 

PARSONS (Charles), a.n.a. 

Born in England, 182 1. He migrated to the United States and became a pupil 
cf tlie National Academy. For a time lie was the art director of the publishing 
house of Harper & Brothers, and lias been a constant exhibitor at the exhibitions of 
the Academy and the Water-Color Society. 

II — An English Village 

PETTENKOFEN (August von) 

Born in Vienna in 1821. He was brought up on his father's estate in Galicia 
and became a cavalry officer. Having served his time, he resolved to study art, 
and went to Paris, where the work of Alfred Stevens opened his eyes to the truly 
pictorial treatment of genre subjects. He returned to Austria, an innovator, and 
spending his sumtners near tlie little town of Spolnok on the Theiss, to the east of 
Budapest, devoted himself to portraying the actual life of the country people, with a 
special partiality for the soldier as a subject. A quiet realism, expressed in delicate 
chords of color, distinguishes his work. He became a member of the Vienna 
Academy and one of its professors, and was knighted in 1876. His deatli took 
place in 1889. 

3^— La Charrette des Blesses 

RAEBURN (Sir Henry), r.a. 

Born at Stockbridge, near Edinburgh, 1756. Apprenticed to a goldsmith, he 
worked also at miniature painting, and later at portraits in oil, copying the works 
#f David Martin. Marrying a lady of means, he was enabled to visit London, and 
by the advice of Sir Joshua Reynolds studied in Italy. In 1 780 he returned to Edin- 
burgh, and soon won high rank as the foremost painter in Scotland. He was elected 
to the presidency of the Scottish Academy and to full membership in the Royal 



Academy. On the occasion of George IV. 's visit to Edinburgh in 1822, he was 
knighted and appointed his Majesty's Limner for Scotland, dignities that he did 
not live long to enjoy, for he died the following year. 

28 — Portrait of Charles Lamb 

RENARD (H. Constantin) 
73 — Still Life 5 

REYNOLDS (Sir Joshua), p.r.a. 

Born at Plympton, in Devonshire, July 16, 1723. At the age of seventeen he 
was apprenticed to Hudson, the portrait painter, in London. Two years later he 
set up a studio at Devonport, moving in 1744 to London. In 1749 his friend 
and patron Commodore {afterwards Admiral) Keppel, took him to Italy in the 
"Centurion." He spent two years in Rome, later visiting Florence, Venice, and 
other cities. At first unable to appreciate the work of Raphael, he became an ardent 
admirer of that master and of the great Italian colorists, subsequently basing his 
own style on the result of his studious research. Upon his return to London in 
1753, his success was immediate and assured. He founded the famous Club, 
whose membership included Johnson, Goldsmith, Fox, Sheridan, Burke, Dr. Burney, 
Malone, and Steevens. In 1 768 he became the first President of the Royal Academy, 
then newly founded, and in the following year was knighted. In 1781, and again 
in 1783, he visited the Low Countries, and his criticisms on the Dutch and Flemish 
masters anticipated in breadth and shrewdness the subsequent work of Fromentin. 
His "Discourses" at the annual meetings of the Academy were equally admirable 
in style and matter. He died on February 23, 1792, and was buried in St. Paul's 
Catlwdral. 

30 — Portrait of the Countess of Nottingham 
32 — Portrait of the Hon. Mrs. Stanhope 

ROMNEY (George) 

Born December 15, 1734, near Dalton-le-Furness, Cumberland, England, the 
son of a cabinet maker. He worked for a short time with a local painter, Steele, 
then married Mary Abbott, of Kirkland, and settled as a portrait painter at Kendal, 
in Westmoreland. Having saved a hundred pounds he set out for London, leaving 
his wife and two children behind. In the capital his progress was steady until he 
became a serious rival of the great Reynolds. With the miniature painter Ozias 
Humphrey he visited Italy in 1773, where he copied the frescoes and cartoons of 



Michel Angela and Raphael, and studied the painting of Titian. Upon his return 
to London he took a large house in Cavendish Square, and for twenty years enjoyed 
a career of conspicuous success, though the mutual antipathy that he slutred with 
Reynolds kept him from ever exhibiting at the Royal Academy. Attracted by tlie 
beauty of a waitress in a coffee house, he induced her to become his model, and later 
his mistress. He painted his Emma in a vast variety of characters until her fickle 
affections were won by his patron. Sir William Hamilton, who made her his wife. 
Subsequently as Lady Hamilton slie fascinated the heart of Nelson, at Naples, 
iviicre Iter husband was ambassador. The loss of the "divine lady," as Romney 
loved to call her, broke the health and spirit of the artist. In a dying state he 
returned to his wife, whom he had so long forgotten, and she tended him to tlie end, 
-which came on November 15, 1802. 

26 — The Shy Child 

34 — -Portraits of Mrs. Wells 

ROUSSEAU (Theodore) 

Born in Paris, 181 2. He had an early taste for mathematics and is said to 
ftave intended to become a pupil of the Poly technique, but entered instead the studio 
of Lethiere. Failing to secure the Prix de Rome, he repaired to the Plain of Mont- 
tnartre, and his first picture, exhibited in 1826, " The Telegraph Tower," proclaims 
his nature study. In 1833 he made his first visit to Fontainebleau, and the follow- 
ing year painted his first masterpiece, " Cotes de Grandville." He received a third 
class medal at the Salon, but for the following fourteen years was rejected from the 
exhibitions. Even after the Revolution of 1848, his green pictures were hailed as 
"spinach," and it was not until the Exposition of 1855 that the world acknowledged 
him as belonging to the class of Ruysdael, Hobbema, and Constable. His last years 
mere darkened by domestic calamity. He had married a young woman of the Forest, 
and when she was seized witft madness, he spent his strength in tending her. When 
finally the officership of the Legion, which was his due for serving as President of 
the Jury at the Exposition of 1867, was denied him, he succumbed to the bitterness 
of his chagrin. He lies buried near Millet, in the churchyard of Chailly. 

43 — Landscape 

RUSSELL (John), r.a. 

Born at Guildford, Surrey, 1744. He became in time a pupil of Francis Cotes 
and followed the manner of his master, especially in the use of crayons. In 1776 
he published a pamphlet entitled "Elements of Painting with Crayons" He was 
elected a Royal Academician in 1803, and died three years later. 

24 — Peg Woffington 



SEWELL (Amanda Brewster) 

Figure and portrait painter ; wife of Robert V. V. Sewell. 

78 — A Nymph 

SMITH (F. Hopkinson) 

Born in Baltimore in 1838. He was self-taught, and has mainly confined 
himself to water colors, in which he displays an extraordinary facility. Moreover, 
as author, lecturer, and civil engineer, fie has proved himself possessed of a genius 
for versatility. 

10 — Bella Mar, Matanzas 

SMYTHE (Lionel P.) 

Member of the Royal Scottish Water-Color Society. 

6 — The Young Gleaners 
8 — Children and Greyhound 
17 — In the Woods 

TOTTIERE (E.) 
61 — Nymphs Bathing 

TINTORETTO (Real name Jacopo Robusti) 

Born in Venice, September 29, 1518, the son of a silk-dyer, taking the name 
II' Tintoretto. He was a pupil of Titian, and endeavored to unite in his own work 
the latter's splendor of color with Michel Angelo's greatness of composition and 
line. Ruskin regards him as the superior of Titian, and while other critics dis- 
agree on this point, they are in accord in placing him among the greatest masters. 
Recognizing the unequal character of his work, the Venetians said that there wert 
three Tintorettos — one of bronze, one of silver, and one of gold — while Annibalt 
Carracci affirmed that, if sometimes equal to Titian, he was often inferior to Tinto- 
retto. His life was spent in Venice, where he died May 31, 1594- 

25 — Portrait of Henry of Valois 



TROUILLIBERT (Paul P.) 

Pupil of Vibert and Jalahut. 

54 — Landscape 



TROYON (Constant) 

Born at Sevres, 1810. He worked as a boy in the porcelain factory, where 
Riocreus the flower painter taught him to draw. Roqueplan, whom he met on one 
of his sketching tours, gave him advice and encouragement, but it was Rousseau 
and Dupre who established firmly his own predilection for nature study. He 
migrated to Fontainebleau, and from 1836 commenced the series of his masterpieces 
in landscape. To these he added, after a visit to Holland in 1847, the painting 
of cattle, in which he stands unapproached. He died in 1865, and a long list of 
honors was crowned at the Exposition of 1878 by the Diploma to the Memory 
of Deceased Artists. 

40 — Landscape and Cattle 
42 — A Fisher Boy 

TRIPP (George) 

19 — A River Scene 

TURNER (Joseph Mallord William), r.a. 

Born in 1775. He very early displayed skill in drawing, and, assisted by Dr. 
Munro, obtained employment in coloring prints and washing in tlte backgrounds of 
architectural drawings. At the age of fourteen he became a student at the Royal 
Academy, and in the following year exhibited his first picture, " View of the Arch- 
bishop's Palace at Lambeth." He was elected an Associate at twenty-four, the 
youngest age permitted, but the works which he had already exhibited ranged over 
twenty-six counties of England and Wales. Three years later, in 1802, he was 
made a full A cademician . Up to this date his powers had been chiefly displayed 
in water colors, of which the most celebrated is the collection of studies in mono- 
chrome, which he styled " Liber Studiorum," M imitation of the "Liber Veritatis" 
of Claude. Thenceforth oil painting mainly occupied his brush, and, as he had 
beaten all rivals in the other medium, so he set himself to rival Claude, whose 
preeminence in landscape was then admitted. In the "Dido Building (. artliage" 
of 1 81 5 he may be said to have accomplished this, and for the future devoted himself 
to eclipsing the French artist — to being Turner. Then followed the maturest period 
of his art, lasting, perhaps, to his third visit to Italy, in 1840. He never married. 



and, notwithstanding the fortune he had amassed, lived shabbily. In 185 1, during 
one 0} his absences front home, he died in a garret in Chelsea, leaving the pictures 
and drawings which he had accumulated to the nation, and his other property for 
the founding of an institute for decayed artists, with the exception of a thousand 
pounds, which he apportioned for the erection of a tomb in St. Pauls Cathedral. 
There he lies buried, near Sir Joshua Reynolds, while his art remains " a phenomenon 
without forerunners. and without descendants." 

14 — Katz Castle with Rheinfels 

15 — Peterhof 

16 — From Ehrenbreitstein 



VILLEGAS, JOSE 

Born in Seville, 1848. He studied with Mariano Fortuny and followed the 
latter' s brilliant style of genre, coloring it, however, with a force and character entirely 
his own. By his "Death of the Matador:' and by " The Christening," bought by 
Mr. William H. Vanderbilt for a hundred and fifty thousand francs, he acquired 
a European reputation. He has his studio in Rome. 

5 — A Spanish Fencer' 
55 — At the Door of the Harem 
89 — The Page 

WILLEMS (Florent) 

Born at Liege, 1823. He was a pupil of the Mechlin Academy, and made a 
study of Dutch genre pictures, attracting attention to his own work as early as ; 1840. 
Four years later he exhibited " Visit to Young Mother" in Paris, and With such 
success that he established himself there. His popularity was immense, the public 
hailing him as a modern Terborg, and his list of honors is a long one. 

70 — The Mother's Prayer 

WYLLIE (William Lionel), a.r.a. 
Born in London, 1 85 1 . He has distinguished himself particularly as a painter 
of the port of London. 

4 — River Stour 
12 — The Chapman 



FIRST EVENING'S SALE 
Friday, January 23d, 1903 

AT MENDELSSOHN HALL 

(FORTIETH STREET, EAST OF BROADWAY) 

BEGINNING PROMPTLY AT 8.30 O'CLOCK 

Oil Paintings and Water 

Colors 



MORTIMER L. MEM PES 

1 — Treasure Trove 

/v fU$trt Water Color 

With charming naivete of feeling and purity of color a little fair-haired 
child is represented standing upon the sands, hugging a black bottle. Her 
figure, clad only in a chemise, is daintily set in profile against the green sea. 
Signed it the lower right, " M. L. Mempes." 

Height, 7 inches ; width, j inches. 



FRANK D. MILLET, N.A. 



2— , Roman Maiden 

\ fWVT w a«r Color /T) j^J . . ~M 

f 

A lady of classic Rome is represented in the act of fastening her sandal. 
She is seated in profile upon a couch, with her right foot raised, the left resting 
on a tiger skin. Her robe of creamy gray material blends in a delicate harmony 
of color with the blue and amber green of the couch. 

Signed m the lower left, "F. D. Millet." 

Height, 1 1 inches ; width, 8 inches. 



MORTIMER L. MEMPES 



3— IVaiting for the Boats 



t 

Water Color 



/ 



A group of Brittany women is gathered by a stone parapet, gazing out 
to sea. Two boys are seated on the wall. 

Signed it the lower right, *' M. L. Mempes." 

Height, \Y % inches ; length, 7 > nchei - 



WILLIAM LIONEL WYLLIE, A.R.A. 



4 — River Stour 

Water Color 

In a channel, winding away from the foreground to white clifll at the 
back, the tide is running out, leaving bare the stretches and slopes of sand. 
The low-water limits are marked at intervals by black posts. Some gulls have 
settled, others are flying over the water. It is a curiously interesting com posi- 
tion ; very refined in its sober harmony of drab and cream, accented by touches 
<jf black, gray, and white. 

Signed at the lower right, " W. L. Wyllie, River Stour." 

Height, 7 inchei ; length. 10 tnche*. 





JOSE VILLEGAS 

A Spanish Fencer 

"PC /W 



Water Color 



With his back to a wall, stands a man holding a rapier by the handle 
^nd tip. His right shoulder anil arm are bare, while a white cloth hangs over 
His left side. He wears a yellow and purple sash around the top of heavy maroon 
trunks, and white rags are bound with thongs, upon his feet. 

Signed at the lower right, " Villcgas, 1871." 

Height, ti inche*; width, 7>4 i 



LIONEL P. SMYTH E 



6 — The Young Gleaners 

\ " Water Color y*) > 

J. /r - ' ' '«i 

A girl in blue, with a white cap, is crossing an avenue of small trees that 
stretches through a meadow. She carries a rake and a basket, and is accom- 
panied by a child with a sheaf of wheat ; a second one, with similar burden, 
following. At the end of the avenue appears a woman. 

Signed at the lower right, •' Smythe, L. P., 1883." 

Height, 7 inches ; length, 1 2 inches. 



ALFRED PARSONS, A.R.A. 



Eton College 

Water Color / 

On the far side of a level meadow, bordered by the Thames, stretches a 
range of red buildings with gabled roofs and corner turrets, pleasantly embow- 
ered in foliage. Trees grow in the foreground on the left of the water, and the 
bank in the middle distance is sprinkled with deer. 

Signed at the lower right, " Allied Parsons." 

Height, q'/i inches ; length, 13^ inches. 




LIONEL P. SMYTH E 



8— Children 



and Greyhoundk //Q 

Water Color . ^ 



In the foreground a little girl lies under a greyhound, with her arm on 
its back. A boy is approaching through the long grass, and beyond him the 
road passes a stone cottage in a walled garden, and mounts to the village which 
straggles along the top of a grassy slope. 

Signed at the lower right, " Smythc, L P., 1883." 

Height, 8 inches ; length, 1 1 inches. 



ALFRED PARSONS, A.R.A. 



9— Tintern Abbey 

Water Color 4 




A reach of the River Wye stretches diagonally aero* the picture, and 
then makes a sharp bend to the right under a high wooded bank. On the right 
margin of the stream white cottages with red roofs appear among the trees, 
beyond which are the ruins of the Abbey, nestling close under a leafy hill. 
The beautiful spot is represented with the tender charm of manner so character- 
istic of this painter's rural landscapes. 

Signed at the lower left, " Alfred Parsons, 1886." 

Height, 10 inches ; length, 16 inches. 



F. HOPKINSON SMITH 




10— . < Bella Mar, Mafanzas 

Q\ Water ColorX 

In the lower left corner of the picture is a triangle of pink sand, by 
the edge of which a skiff is moored. The coast is continued in a horizontal 
line across the top of the composition, giving to the bay a bold sweep of con- 
tour. At the apex of the curve of pale greenish water two laden donkeys are 
approaching the red-roofed gray houses that straggle along the shore beneath 
hills. The latter descend gradually to the right, with a white wall running 
beyond the village along the length of their base. It is a spirited picture in 
pure washes of color, rendering very truthfully the charm of warm and brilliant 
atmosphere. 

Inscribed at the lower left, "Bella Mar, Matanzas, Feb. 22, '8i, F. Hopkinson Smith." 

Height, 1 1 inches ; length, 1 6 inches. 



CHARLES PARSONS, A.N.A. 

11— ^ An English Village 

<n,\ Water Coloi - a . 

One looks down a short length of village street, terminated by a mass of 
elm trees. The houses are red-roofed and, on the right, separated from the road 
by gardens, inclosed with a low wall. In front of a building on the left stands 
a post from which swings the sign of" The Bull Inn." The scene is charmingly 
typical of a village in the south of England. 

Signed at the lower right, •' C. Parsons." 

Height, 8*4 inches ; length, inches. 



WILLIAM LIONEL WYLLIE, A.R.A. 



12— The Chapman 



Water Color . / 

\7 / f^t-^r 



The conspicuous feature of the picture is a scarlet lighthouse raised on a 
high framework above the blue water. The latter is streaked on the right of 
the structure with a sinuous eddy of white shoal water, beyond which numer- 
ous fishing boats are dotted about, a steamer showing in the offing. Under- 
neath the davits which hang from the left side of the lighthouse framework lies 
a rowboat with two figures ; one of them presumably " the chapman," who has 
arrived to peddle his wares. 

Signed at the lower left, " The Chapman, W. L. Wyllie." 

Height, 7 inches ; length, 17 inches. 



M. LORING 



13— Schooner at Low Tide 

Water Color / /f / J*" 




A vessel with greenish and black hull is moored against some piles on 
the left of the picture. Farther back on the right projects a gray pier with a 
building upon it reflected in the white water. Two boats appear in the middle 
distance, and in the offing a sailboat, while upon the horizon lies a gray line of 
coast. The picture is full of freshness, and has the true water-color feeling. 



Signed at the lower left, " M. Loring." 

Height, 14 inches ; width, o}£ inche«. 



M. W. TURNER, R.A. 

1775-1851 



14— £Katz Castle with Rheinfels 

w atcr coy n I 

On the left of the picture is a pile of gray rocks witli trees On their 
slopes, and a profile of castle walls descending in steps until it stops on the 
sheer edge of a ravine. Between this and a smaller cliff to the right the river 
is seen lying tar below, and across the water rises a precipitous rock crowned 
with the ruin of a castle. Beyond it appear line after line of ranged hills, blue 
in the distance, under a sky rilled with rolling masses of gray and white cloud. 
This example and the two following are of the " Rhine Series," of which there 
were thirty-five views, and were made by Turner during a tour up the Rhine in 
1819. 

From the collection of Ayscough Fawkes, Farnley Hall, Otley, Yorkshire, England, whose 
remarkable collection of works by Turner was sold at Christie's, June 27, 1890. Mr. Fawkes was 
one of Turner's intimate friends, and a generous patron. Exhibited at Burlington House, 1889. 

Height, 7% inches ; length, 12^ inches. 



J. M. W. TURNER, R.A. 

1775-1851 * 



1 i 



15— Peterhof 

«0 Water Color ffyf^ j 

A rainbow gleams coldly in the lurid sky, spanning the dark, slaty water, 
on the farther shore of which a town appears at the foot of a sloping hill. 
Along the flat sand at the left of the picture a man accompanied by a woman 
in a red petticoat is approaching, while farther back two figures are walking in 
the opposite direction, and a group of figures appears in the distance. Off 
shore lies a fishing-smack, with two boats near it. 

From the collection of Ayscough Fawkes. Farnley Hall, Otley, Yorkshire, England, whose 
remarkable collection of works by Turner was sold at Christie's, June 27, 1890. Mr. Fawkes was 
one of Turner's intimate friends, and a generous patron. Exhibited at Burlington House, 1889. 

Height, 8'4 inches ; length, 1 2# inches. 



J. M. W. TURNER, R.A. 

""""" . I ilS ' 

16— From Ehrenbreitsteih 

A portion ot one of the ramparts appears on the left of the picture, 
near to a tower on which there is a statue within a niche. A figure in white, 
with black hood, stands below, and others are approaching up the steep incline 
beyond. At the back of the tower rises a cliff from which the ground, curtained 
with a loop-holed wall, rapidly descends to grass and trees, and finally to the 
river. An island lies in the stream, and on the opposite bank appear the gray- 
green hills. In the centre of the sky the sun's disk looms large in a hazy 
atmosphere. 

From the collection of Ayscough Fawkes, Farnley Hall, Otley, Yorkshire, England, whose 
remarkable collection of works by Turner was sold at Christie's, June 27, 1890. Mr. Fawkes was 
one of Turner's intimate friends, and a generous patron. Exhibited at Burlington House, 1889. 

Height, 8^ inches ; length, I2j£ inches. 



LIONEL P. SMYTH E 

17— y In the Woods 

/I /O x A Watcr Color 

A child is forcing her way through the undergrowth in the wood. 
Daffodils sprinkle the ground, and slender tree stems and purple tangle of bush 
surround her figure. The latter, with its lavender dress, blue stockings, and 
white pinafore and sunbonnet, completes the vivacity of the picture, which is 
fresh and transparent in color, and rendered with charming spontaneity. 

Signed at the lower right, '* Smythe, L., 1884." 

Height, 2 1 inches ; width, 1 2 inches. 



SAMUEL COLMAN, N.A. 



IS —f Grand Canon of the Colorado 



The minute precision with which the character of the rock formations 
has been studied does not detract from the impressive feeling of the scene as 
a whole. Viewed through the ratified atmosphere, the terraces of rock carve 
themselves clean against the further range and the pale blue sky. Those on 
the left, according as they fall in shadow or catch the partial light, vary in 
tone between slaty blue, reddish slate, and reddish buff, while the bastions that 
tower on the right are a rosy yellow. The brink of a deep fissure cuts the 
picture diagonally, and in the foreground, where mist hovers over the depth, two 
figures are visible; one standing, the other sitting. The color is charmingly 
pure and transparent, and the diffusion of warm light most admirably rendered. 

Signed at the lower right, " Siml Colman, 1888." 

Height, 17 inches ; length, zl inchei. 



GEORGE TRIPP 



19— A River Scene 



2> 



0^ 0^ WUCT Co\oj/ftJr f^jgjA 



Ducks are swimming in the foreground of water, on the right of which 
a man is stooping in a punt beneath some willow trees; two cows appearing 
on a bank beyond. Willows also line the opposite margin, where a church 
with white tower is visible. Near to it is a lock and the commencement of a 
wooden bridge, which extends across the narrow valley to the hills on the other 
side. The scene is such a one as might be found in the valley of the Thames. 

Signed at the lower right, " George Tripp, 1854." 

Height, it inches ; length, 25 inche*. 



ALFRED PARSONS, A.R.A. 

20— An English Landscape 

Water Color ^-*) 

/A 

From a grassy slope on the left, where cows are feeding, there is a view 
of a flat valley dotted with trees. Immediately below is a small river, which 
farther on makes a bend where it is crossed by a railroad bridge. A hay 
wagon appears in the middle distance. The sky is a pure blue, with patches 
of white and masses of rolling gray clouds. Juicy and transparent in color, 
the picture renders with intimate feeling the pleasant simplicity and whole- 
someness of the country. 

Signed at the lower right, " Alfred Parsons, 1889." 

Height, 1 7 14 inchea ; length, 23 # inchei. 





MAY ELEY 



1** 

21 — Children and Puppy 



Water Color f Jl, tAjfejf"" I 

In front of a drab wall a little child in long white dress stands sideways, 
nursing a bull puppy. She is being watched by another fair-haired child, who 
sits on the floor, also in profile, clasping her knees with her hands. 

Signed at the left side, " May Eley." 

Height, 35 inches; width, 30^ inchet. 



EDWIN A. ABBEY, N.A., R.A. 



22— Mariana: Measure for Measure 

watcrcoior \ 

The "dejected maid," victim of Angelo's inconstancy, is represented 
sitting on a divan, where she has "sat all day." Her right arm lies extended 
upon the cushions, while the left hand toys listlessly with her neck chain. Her 
white cap shows against the dark, blue of the tapestried wall, and a white veil is 
wrapped around her neck, the ends hanging down over the shoulders. The slate- 
blue gown, with white slashed sleeves, and a crimson band across the front of the 
bodice, is worn over an underskirt of purple, decorated with gold lace. On a 
table beside her an hour-glass marks the dull routine of time; while at the right 
of the chamber stands her prie-dieu, covered with a linen cloth, and adorned with 
two lighted tapers and a crucifix. A picture hangs above it, under a carved 
canopy, on the corner of which is a lighted lantern. In the corridor, seen 
beyond some crimson hangings, a boy approaches with a lute. 

" Take, O, take those lips away, 
That so sweetly were forsworn; 
And those eyes, the break of day, 

Lights that do mislead the morn ; 
But my kisses bring again, bring again ; 
Seals of love, but seal'd in vain, seal'd in vain." 

The picture elaborately illustrates the artist's ability to re-create the feel- 
ing and environment of bygone days, and in the richness of its color, tonal 
quality, and exquisite handling reveals his mastery of the water-color medium. 

Signed at the lower right, " E. A. Abbey." 

Height, ity 2 inches; length, inches. 



THOMAS GAINSBOROUGH, RA^ 

i 727 -i 7 88 i +i 



v 



23— Shepherd Boys 




The two lads in this little picture are eminently characteristic of Gains- 
borough. They have an unaffected rusticity, a natural wholesomeness, the free- 
dom of gesture of young untamed creatures, and added thereto a slight gravity 
of demeanor, a reflex of the painter's own gentle, dreamy nature. They are 
seated on a rocky eminence which overlooks a plain, showing blue in the distant 
atmosphere. Behind them stands an old oak trunk, between the branches of 
which appears a patch of blue sky. One of the boys leans, nearly facing us, 
with one hand extended along the rock, the other holding a crook. His com- 
panion sits sideways at his feet, with his hands laid upon his knees, and in front 
of him lies a dog. The glow of the setting sun is concentrated on the back 
and shoulders of the latter boy, and spreads a pattern of lesser light over the 
browns and russet tones of the foreground, paling into greenish cream in the dis- 
tant sky. The mingled breadth and subtlety of the color scheme and chiaroscuro 
produce a combined impression of genial bonhomie and tender reverie. 

Height, 13 inches ; width, 9^ inches. 



JOHN RUSSELL, R.AA 

1 744- 1 806 



24— v Peg PVoffington 

1 



Pascel f 

A pupil of Francis Cotes, Russell practised in oils and crayons, making 
his mark particularly in the latter medium, and enjoying the appointment of 
Painter in Crayons to George III. and the Prince of Wales. 

In this bust portrait of Peg Woffington, he has represented the famous 
actress in a position three-quarters to the front, facing right, with the eyes glanc- 
ing to the left. The brown wavy hair is drawn off the forehead and arranged 
at me back in curls, threaded with strings of pearls. The features are rendered 
with the precise finish of a miniature, the flesh tones being clear and white, deli- 
cately suffused with pink. A lace fichu borders the neck of the blue silk Watteau 
robe, which is damasked with pink and white flowers, while the short sleeves 
are caught up with a brooch of pearls. Worn in the centre of the bodice of 
pearly satin is a red jewel set with pearls, three of which are pear-shaped; and a 
pearl also nestles in the ear. 

The vivacious audacity of the actress, whose sayings and doings even 
outside the theatre were the delight of the town, is here toned down to the 
demure discreetness of l\\tt grandt dame of the period; an accomplishment upon 
which the fair Peg prided herself. 



Height, 23 inches; width, 17^ inches. 



TINTORETTO 

(Real name Jacopo Robusti) 



25— Portrait of Henry of Valois 



The portrait represents the halt-length figure of a man of about thirty- 
five years, facing three-quarters to the left, resting one hand on the hilt of his 
sword, and in the right hand holding an inscribed parchment. He has closely 
cropped black hair; dark, arching eyebrows; and a downy moustache. A lace- 
edged ruff is worn above a black velvet robe, below the cape of which appears 
a doublet with white satin sleeves barred with gold thread. His sword is 
enclosed in a black scabbard decorated with gold lace in diagonal bands; and 
from the wide hilt droops his left hand, which has a small ring on the little finger. 
A flat broad chain, formed of gold links, hangs from his neck. The Latin 
inscription on the parchment commences with the words, "Serenissimo et 
Exmo. Domino, Henrico Vaksio, Andaganiensium Duci, et Dei gra. electo Regi 
Poloniae." The subject of the portrait is Henry of Valois, son of Catharine de' 
Medici, who was elected King of Poland in 1573, but resigned the position in 
the following year upon his succession to the throne of France as Henry III. 
This seems to fix the date of the picture, as it was probably painted during 
Henry's progress to France, while he was visiting Venice as the guest of the Doge. 

Height, 40^ inches ; width, 30^ inches. 



GEORGE ROMNEY 

1734-1802 




0' 

The Shy Child 

Unfinished, like many of Romney's canvases, tftis picture has yet been 
carried far enough to represent with delicious freshness of fancy the simple 
coyness of a country maiden. Her head inclines to one side, the cheek resting 
against the back of her right hand, while her left hand is held up to her bosom- 
The eyes peer up through the transparent shadow that softly veils her forehead: 
the full cheeks are ripe in color, and the mouth is drawn forward with a demure 
purse of the lips, above a little pointed chin. The white dress over the bust has 
been indicated with vivacity and freedom, and left unfinished. 

It is in I bust portrait such as this that Romney often appears most 
happy, for as a rule he eschewed elaborate compositions, painting under a 
strong impulse, without the science and deliberation of manner that distinguish 
Sir Joshua. Yet he was frequently the equal of that master by the very 
insouciance of his style. An excellent draughtsman, with instinctive aptitude tor 
grace of line, and a charming colorist, he was particularly skilful in giving life 
to his faces, rendering with an individuality of charm the winsomeness of women 
and children. 

From the collection of Walter J. Long, Pre»haw, Htnt'i, England, in whoie family the painting 
had been lince it »u painted. Sold at Chriitie't, London, 1890. 

Height, j 3 inches; width, zi inchet. 



OLD CROME (JOHN CROME) 



1769-1821 



27— Landscape with Cottage 

The right of the composition is rilled with the side and gabled end of a 
cottage, on the left: of which are a lean-to shed and a paling, with a pollard 
willow showing above it. The immediate foreground is of buff and olive tones, 
with a mass of dark foliage on the right, out of which rises a trunk with bare 
branches. Beyond the cottage a meadow extends to a pond and to elm trees 
which stand against a creamy sky, mellow with light. A square chimney 
surmounts the pitch of the roof, and a dormer window projects from the slope, 
while the front of the cottage, where brick shows through the broken plaster, is 
occupied by a door and window. 

Height, 44 inches j width, 36 inchw. 



SIR HENRY RAEBURN, R.A. 

1756-1823 I JP 

***** 



28— Portrait of Charles Lamb 

At the age of 30 / jJ 

This bust portrait has a graciousness of mien and quiet force of char- 
acter in Rarburn's happiest vein. The figure appears in profile, tiicing to the 
left, against a dark olive background, the corners of which are traversed by 
curved bands of drab. The double-breasted black coat is buttoned up to the 
chin, where its small collar tails neatly over a soft white stock. The head, 
turned three-quarters full, has brown curly hair, tailing in waves over the fore- 
head; strong black brows surmount the gray eyes; the nose is straight, and 
the large lips are slightly parted ; the flesh tints being generously suffused with 
carmine. In its simple directness of expression and honest workmanship this 
portrait offers a fine example of Lawrence's chief rival, whose vogue, even in 
his own day, would have been wider had not the home-loving instinct of the 
Scot induced him to settle in Edinburgh rather than in London. But with the 
slow dispersal of his work his reputation is still growing. 

Height, 28 inches ; width, 24 inches. 



JOHN HOPPNER, R.A. 

1759-1810 I W 



29- Portrait of Young Shelley fj 




This justly famous portrait represents the head and bust of a boy, the 
body being turned to the right, while the head, but for a slight inclination to the 
left, is full face. The black cloth jacket is fastened over the chest with a double 
row of buttons, and the loose collar of the white shirt overhangs the shoulders. 
From the broad opening rises a long, tapering neck on which the beautiful head 
is finely poised. Soft wisps of brown hair fall over the high forehead; the 
brows are arched, the eyes large and open; the nose is long, straight, and broad; 
the upper lip full, and very curving at the corners : and the chin sweetly 
rounded. The boy's face has a rapt expression of' wistfulness and far-off search- 
ing. The background of the picture is a steely blue, darkening towards the top 
of the canvas. 

Hoppner shared with Lawrence the favor of the court and public of his 
time, securing a particular reputation for his rendering of women and children. 
At his best he draws with grace and paints with a mellow brush, reaching at 
times a seriousness of psychological study. These qualities are conspicuous in 
the present portrait, which, both for its own merits and for the interest attaching 
to the subject, is a particularly choice example. 



Painted in 1805. 



Height, inches; width, 20 inches. 



/ 



SIR JOSHUA REYNOLDS, P.R.A. 

* 1723-179* I 



30— Portrait of the Countess of 

Nottingham 

Something of Van Dyck's influence is, perhaps, recognizable in the suave 
dignity of this portrait. The figure is shown us far as the waist, seated, facing to 
the left; one arm resting upon some object in front, with a gesture of superb 
elegance. The delicately tapering hand droops beneath a loose cuff; over which 
are massed the voluminous folds of a claret-colored drapery. The bodice is 
worn low enough to reveal the cushion of the shoulder, from which the slender 
neck slopes up with a curve of remarkable grace. In the small upper lip and 
finely arched brows there is a trace of hauteur, which yields to graciousness in 
the expression of the eyes and in the ample modelling of the contours. Over 
the brownish-amber hair, which is massed in braided coils, sets a headdress of 
gauze, edged and sprigged with gold. It is fastened like a kerchief on the 
crown, and falls behind in folds. A pearl pendant hangs from the ear. There is 3 
moderation of sumptuousness in the costume which is alluringly impressive. 
The gown is of dull blue velvet, with a very full sleeve, and a border of ermine 
on the edges, which fold over the breast, where a glimpse of the lace chemise 
appears. The composition has an ampleness of decorative arrangement which 
charmingly accords with the mingling of high-bred ease and stateliness in the 

subject. Height, zy\i inches; width, zc"4 inches. 



JOHN HOPPNER, R.A. 

31— Portrait of Lady Almeria 

Carpenter 



Hoppner excelled in his portraits of ladies, and the present subject, a 
ripe and wholesome type of English beauty, whose natural charms are enhanced 
by the coy simplicity of her costume, affords a very admirable example. His 
fine sense of tone reveals itself here in a color scheme of grave refinement — 
soft white and gray against a dark drab background, with a note of piquancy 
in the fresh tints of the healthy face. The lady's head is turned a little towards 
the left, while the bust fronts us, the full bosom being partly visible beneath the 
crossed draperies of the bodice. Her powdered hair, disposed low down over 
the forehead, is dressed upon the crown in a loose volume, terminating at the 
back of the neck in curls, which are entwined with a dainty fall of gray veiling. 
The eyes are a bluish gray, with full orbs and a tender earnestness of glance : 
the nose softly rounded: and the lips gently compressed, with the trace of a smile 
in their corners. The portrait involves a most agreeable mingling of artifice 
and artlessness, rendered with frank and easy brushwork. 

Height, 20 inches ; width, 17 inches. 




SIR JOSHUA REYNOLDS, P.R.A. 



1 7 2 3~ I 79 2 



&2 —Portrait of Hon. Mrs. Stanhope 



Nee Eliza Falconer 



Very characteristic is the quality of mellowness and vaporous atmosphere 
in the chiaroscuro of this picture. The lady is seated under a tree, which casts a 
delicate shadow over the skirt of her gown and over the hand that lies upon if 
while her face and bosom are warmed by the evening glow, which settles also 
on a pool in the landscape. The flesh tones are luminous with creamy gold 
that responds to the rosy cream of the horizon, and to die golden brown flecked 
with orange in the foliage of the tree. The richness of the landscape setting 
adds the charm of contrast to the simple grace of the gown, which is of soft 
creamy material, crossing low upon the bosom. The lady faces the left, her 
right elbow supported upon her knee, and her hand resting against her cheek. 
The face is oval, with a sensitively arched nose, delicately pencilled brows, and 
brown eyes halt veiled with drooping lids. Brown also, of a warm tone, is her 
hair, which is drawn up on the top of her head in rolls, with loops depending 
behind. The pose of the figure is at once graceful and artless, while the entire 
composition has a handsomeness of treatment that makes the portrait truly 
pictorial, 

Mrs. Stanhope, ne'e Eliz^i Falconer, one of the beauties of the day, was married to the Hon- 
orable Fitzroy Stanhope, younger son of the second Earl of Harrington, who died August zo, 1828. 



Height, 48 inches; width, 35 inches. 



OLD CROME (JOHN CROME) 



33 



Old Mill on fke Yare 



Crome's intimate knowledge of nature, and feeling for its large character- 
istics, and his indebtedness to the art of Holland are well illustrated in this 
choice example. There is even some aspect of a Dutch scene in the subject, 
which is apparently a view upon the Yare, seen under the fading light of 
a rather threatening sky. Starting in a clump of dark trees on the left, a low 
stretch of land divides the water and sky. The latter overhead is ragged with 
diagonal shreds of dusky cloud, while the horizon is full of white light, against 
which are softly silhouetted two dark brown roofs, and, farther to the right, a 
reddish windmill and a white house. A wooden jetty projects into the water, 
upon the gray surface of which drowse the reflections of the various objects on 
the land. The whole scene, frankly realistic, as was Crome's wont, is toned to a 
delicate adjustment of dark russet colors and whitish grays, which gives a beau- 
tiful pictorial quality, very discreet and refined. Rendered with much tenderness, 
also, is the feeling of the scene — the gentle rusticity of the spot and the tranquil 
hush of evening — made even more impressive by the threat of stir in the sky. 
In the technique there is, more than usual, a breadth of treatment, since the 
uncertainty of light permits no pettiness of detail, and, therefore, nothing inter- 
feres with the largeness of conception. It is a picture that admirably sustains 
Old Crome's individual worth and his position in English art. 

From the Dawson Turner Collection, London, i8;z. 



Height, 25 inches; length, inches. 



GEORGE ROMNEY 



1734-1802 4 




34— Portrait of Mrs. IV ells x ■ P M 

A striking handsomeness of composition distinguishes this portrait of the 
popular actress. Her figure, almost full face, is shown seated under a tree, 
leaning forward, with the hands in a large muff The pose is as easy as it is 
graceful, mingling a suggestion of the woman of the world with a charming 
intimacy of personal expression ; for there is an ampleness in the parts of the 
composition— the large hat and muff and the widely spreading mass of silk 
gown— which gives a stateliness to the picture, while the figure itself preserves 
a winsome simplicity. The trunk of the tree, mellowed with rich browns and 
greens, and the pale amber foliage offer a bold foil to the tender coloring of the 
costume. The gown is of ivory and wine-colored stripes, cut low to a point at 
the bosom ; a tippet of soft creamy material overlaps the neck ; the tight 
sleeves are finished at the elbows with a broad ruche of quilled lawn gathered 
with a central band of creamy ribbon, and a white muslin apron covers her lap. 
The muff is of gray-black fur. The blonde hair, daintily powdered, peeps in 
loose masses from below the flounce of a lace cap that is worn under the hat. 
The latter, wide-brimmed, and covered with dove-gray silk, is edged with p a le 
blue and white ribbon, and decorated with a pompon of gray bows and a 
lawn rosette of the same color. There is a suggestion of happy improvisation 
in the manner of the painting, of facile and spontaneous brushwork, and a more 
than ordinary charm of perfected effort. 

Deliciously captivating is the expression of the face— a little serious, it 
has yet a lurking smile that responds to the very personal glance of the blue 
eyes, while the delicate play of atmosphere invests the features with a slightly 
idealized charm ; not enough, however, to interfere with the lifelike feeling that 
animates the whole picture. 

From the collection of Right Hon. E. P. Bouverie, 4 4 Wilton Crescent, London. 

Height, 50 inches ; width, 40 inches. 



JOHN CONSTABLE, R.A. 

1776-1837 

35ci-. Dedham Vale ^ 

This celebrated picture, belonging to the period of Constable's most perfect 
art, was painted in 181 V. The scene is in the neighborhood of East Bergholt, 
Suffolk, the artist's birthplace, and in the little town of Dedham, at the head of 
the vale, he spent some of his school years. Here, too, lived Sir George Beau- 
mont, a patron of the arts, who used to assert that "a good picture should be 
in the color of a good fiddle, brown," and unwittingly contributed to the refuta- 
tion of his theory by encouraging a young man whose art was to restore the 
greens to nature. 

The church and some houses of Dedham appear nestling beneath the 
distant hills, from which the vale stretches towards us embroidered with hedge- 
rows, sprinkled with trees, and embossed with farmsteads and clumps of foliage 
basking in the amber haze of a misty horizon, rosy white beneath a pale blue 
sky. The foreground consists of two slight eminences that descend towards 
the centre of the picture, where four cows have just entered the field ; a man in 
a red coat, leading a black horse, being in the act of closing the gate behind them. 
Crowning the left bank is an ash tree, painted with extraordinary delicacy; a 
donkey feeds on the slope, and at the foot is a milestone with the inscription 
"Dedham Vale." The grassy incline upon the right is bordered with a row of 
trees that extends to a house at the top, from which a man approaches, while 
nearer to us a woman, carrying a basket and shawl, is descending the slope. 

Mingled with the perfection of delicacy that distinguishes certain parts 
of the picture is the largeness of conception which has embraced the whole. 
It is the product of consummate craftsmanship and of fullest intimacy with 
nature ; with the pastoral phase of it, opulent and ample, sweetly simple. 

Signed at the lower left, "John Constable, Pinxit, 18 1 1." 

Height, 30 inches ; length, 49 inches. 

Note. — " In this year, 181 1, he sent to the Academy two pictures, ' Twilight ' and ' Ded- 
ham Vale.' In ' Dedham Vale ' an extensive country is seen through a sunny haze which equal- 
izes the light without injuring the beauty of the tints. There is a tree of a slight form in the 
foreground, touched with a taste to which I know of nothing equal in any landscape I ever 
saw." Vide " Life of John Constable, R.A.," by C. R. Leslie, R.A. 




JOHN HOPPNER, R.A. 

1759-1810 

O 

36— Portrait of Mrs. Gwyn 

Nee Mary Horneck. Born 1754, died 1840 

The beautiful original of this portrait was a lady of the bedchamber 
to Queen Charlotte and wife of General Gwyn, an equerry to George III. The 
charming spontaneity of the pose, as, seated back to us, she turns her shapely 
head to glance over her left shoulder, is in Hoppner's happiest manner. So, 
too, is the rendering of the face, rosy with youthful charm, mingling nobility and 
sweetness, yet for all its pretty artifice very spirited and lifelike. The corsage, 
edged with a ruffle, is cut low enough to reveal completely the graceful sweep 
of the neck, which is encircled with a narrow black ribbon. The gown is of 
white material, and a black lace scarf surrounds the waist and lies over the 
arms. The fair hair, powdered a la mode, is surmounted by a mob cap, to the 
simple folds of which a touch of piquancy is added by a bow of peacock blue. 
The portrait is a choice example of the artist, representing the facile elegance 
of his best works, the vivacious tenderness of style, and his skill in imparting a 
quality of picturesqueness to the canvas. 




Purchased at Christie's, London, June 29, 1889, where it was sold by order of Miss Gwyn. 

Height, 29^ inches ; width, 24^ inches. 



JEAN BAPTISTE CAMILLE COROT 

\ * 4 796-' 875 1^5^ 

37 — Classic Landscape 



The fragment of a temple, seen in profile on the left of the picture, with 
a statue surmounting a projection of masonry, lends a tone of classic suggestion 
to a landscape that without it would still be classic in feeling. The temple 
stands behind a bare willow stump, growing by a dark pool, near which is a 
spot of crimson. On the right is an eminence of yellow-brown rocks topped 
with russet undergrowth, out of which rise a few slender stems crowned with 
pompons of drowsy olive green. Over the gray, dreamy distance spreads a 
horizon of warm cream, mounting to faint blue, with a hovering of soft, rosy- 
gray clouds. 

Signed at the lower left, " Corot." 

Height, 15^4 inches; width, 14 inches. 




OLD CROME (JOHN CROME) 

^ 1769-1821 



38— The Porlington Oak 

In this fine example of the Norwich master, a giant oak, the favorite sub- 
ject of his study, occupies the centre of the composition. At the foot of its 
huge bole a shepherd boy in red breeches lies beside his dog, and in front is a 
pool of water with lilies floating on the surface. The spot is enclosed by a 
thick growth of trees, on the left of which is a grassy bridle path leading down 
to a bank beside the water upon which three cows are grouped. Overhead is 
a greeny-blue sky with masses of white, lighted cloud. It is delicately lumi- 
nous, while a golden atmosphere envelopes the rich browns and olive-greens of 
the foliage. A grand feeling of immensity and vast quiet pervades the scene. 



Height, 36 inches ; length, 43 inches. 



AUGUST VON PETTENKOFEN 

39— La Charrette des Blesses 

Pettenkofen's early experience as an officer in the Austrian army, his 
subsequent fondness for the lonely plains of Pusta and study of the peasants, 
soldiers, and animals and the particular view point of his art are all represented 
in this picture. It is a strain of delicate harmony, a concord of drab, gray, and 
cream, which, with the realization of atmosphere and movement, has supplied 
him with motive enough. The subject which serves as fabric is the bringing 
home of a party of wounded soldiers ; the scene being a sandy plain overhung 
by a dark sky, with a glare on the left of the horizon. A long wagon, in 
which men are seated or lying propped up, is being drawn by cream-colored 
oxen, and soldiers are pushing it from behind. Towards the right of the fore- 
ground a woman, followed by a tired dog, is walking with heavy steps, carrying 
a pitcher and water bottle. 

In the sensitive monotony of the color scheme, and in the sobriety of the 
sustained movement there is a lyrical impulse, tender and contemplative. It is 
a charming example of the painter, who in his technique was influenced by 
Alfred Stevens, and in his feeling for nature and life by Troyon and Millet. 

Signed at lower left, "A. Pettenkofen," and dated 1853. 

Height, 1 o inches ; length, 1 3 y 2 inches. 



CONSTANT TROYON 



1810-1865 



40— Landscape and Cattle 

How large a feeling amplifies this picture, lifting to noble poetry the 
relation between the beasts and nature ! 

The day is one of fresh breeze, in early summer, when the sky clears and 
thickens by turns, and all the picture betokens the bracing conflict of pleasant 
sunshine and gathering cloud. In the middle distance a dun cow and a white 
one are feeding side by side, and the distant stretch of meadows basks in the 
clear light of a faint blue sky, which is creamy towards the horizon, and spread 
above with warm gray buoyant clouds. Farther towards the front, however, 
on the right, looms up a lowering mass of drabbish hue, restless and threaten- 
ing, and beneath the shadow of it stands across the foreground a red ox with 
white upon his head, which is turned towards us. To his left is a little pool 
bordered with reeds, and behind him moves away a black cow. 

With what grandeur the red and black of these bulky beasts accord 
with the strong, broad treatment of the foreground and the sternness in the sky, 
contrasting also so effectively with the growth of tenderness in the receding 
planes of the picture. 

Height, 23 inches ; length, inches. 



ALEXANDRE DECAMPS 

,1803-1860 





41— l/V Landscape 

The pictorial caprice of which Decamps was so fascinating a master is 
charmingly illustrated in this little landscape. Near the centre of the fore- 
ground is a brook, with a bank on the right ot warm yellow and brown rocks, 
thatched with mossy turf] Seen above a hollow is the figure of a man firing 
at a duck which is flying over the water. Behind him the ground descends 
into a little gully lined with bushes, beyond which it undulates to distant hills 
lying blue beneath a horizon of rosy cream and gray in layers, the sky above 
being greenish-blue under a canopy of dark gray clouds. The picture has a 
lovely mellowness of color and warmth of atmosphere, and is full of piquant 
surprises of light. 

Signed at lower left. 

Height, 1 2 J4 inches ; length, 1 7 inches. 



CONSTANT TROYON 

1 8 10-1865 A K 

III 

42— A Fisher Boy *} 

In this unusual example of Troyon's art a fisher boy is represented 
approaching over the sand with a basket across his back. His slaty-green 
trousers are rolled up to' the knees, and the red blouse shows the sleeve ot a 
white undershirt In the middle distance, to the left, two figures are busied 
round a boat on the sand," and still farther baok another figure appears, near the 
w * waters edgfe —The retreating sea, which* has left the sand still dripping, lies a 
sheet of cool blue under a gray sky, stirrecf with breeze,. The picture is delicious 
in tone and saturated witlratinbsphefe.. 
Signed at the lower left, " C. Troyon." 

Height, 9 inches ; width, 7 inches. 



THEODORE ROUSSEAU 

^ ft t$ ' 1812-1867 . 

43— Landscape 



In the foreground of rich olive tones lies a low building with a thatched 
roof to the left of which are a high tree and two shorter ones. Behind them 
appear the white end of a church, pierced with a window, an apsed chancel, 
and the white gable end of a house, peeping from the foliage. Beyond them a 
tree-sprinkled hill descends towards the centre, while another hill runs to meet it 
from the right. These two form a narrow entrance to the plain, which broadens 
beyond and stretches to a distant horizon. This vista of exquisite gradations is 
illumined with warm light, beneath a spacious sky, singularly beautiful in its 
delicate creamy atmosphere, across which float lace-like strips of cloud. The 
tones of the picture progress from opulent depth of hue to the extreme of 
tender evanescence, embodying a sentiment of absolute tranquillity. 

Signed at the lower left, " Th. Rousseau." 

Height, 9^ inches ; length, 131^ inches. 



ALEXANDRE DECAMPS 




No subject came amiss to Decamps, whose eye discerned everywhere 
the elements of picturesqueness. Here it is a beggar, with his back to us, 
holding out his hat and looking up, as if to a window. The freedom of the 
gesture is charming, and the whole conception eminentiy a painter's view. 
The man wears a jacket of olive-drab hue; greenish-blue breeches, leaving 
the legs bare ; and a pouch slung under his right arm. The coloring is mellow 
and subtle, brushed in with delightful spontaneity. 

Signed at the lower right, "AD." 

Height, 9}4 inches ; width, 6 inches. 



SIR LAURENCE ALMA-TAD EMA, R.A. 

45— "A mo te t ama me" 

It has been well said that "in their still lite Alma-Tadema's pictures are 
die fruit of enormous archaeological learning which has become intuitive vision, 
but his figures are the result of a healthy rendering of life." And in the 
present one a little episode of the classical period is reinvested with all the 
charm of naturalness. A young Roman lady is receiving a gift of roses from 
a youthful lover. They are seated on a marble exedra at the head of a flight 
of steps flanked by a parapet, and leading down to the sea, which shows in 
the distance in a strip of sapphire blue, kissed by shell-hued clouds. The lady, 
swathed to the feet in a drapery of the color of cafi-au-lait, with ribbons of ashes 
of roses on her shoulders and wrists, reclines with her weight upon her right 
hand, and holds the pink roses before her. Her companion, whose costume 
is a woollen cloak of yellowish brown, worn over a short tunic that shows his 
feet bound round with leather thongs, leans forward on the seat, resting on his 
arm. The little scene is a veritable fragment from the antique life. 

Signed at the right of centre, «'L. Alma-Tadema, Op. CCXXXIV." 

Height, 7 inches; length, 15^ inches. 



MRS. ALMA-TADEMA 

46 — In Good Hands » 

A little girl, seated in a dark. oak. high-backed chair, turn's* from her 
needlework to look at a sick boy asleep in an antique bed, which has massive 
pillars of carved wood A red and blue paper whirligig rests on the sheet, and 
on the floor a large clasp volume is propped against the bed. The older child 
wears over her blonde curls a white cap tied under the chin with little tasselled 
cords, a collar of flounced lace, a pale blue skirt with gray spots, and a white 
scalloped apron over a brown petticoat. On the buff wall behind her hangs 
a brass candlestick and, beneath a wooden shelfi the lace front of a peasant's 
cap. The tiled wainscot on the left shows a glimmer of blue. 

Height, i 5 inches ; width, 1 1 inches. 



KARL BODMER 

1805-1889 




47— A Pool in the Forest /f * 

■/ ?■/ // ■ ■ 

As evening settles over the forest a stag is drinking. The water is 
bordered by silver birch, beyond which are bushes extending to a slope of grass. 

Signed at the lower left, " K. Bodmer, '85." 

Height, iz^ inches; width, 8^ inches. 



BLAISE DESGOFFE 




Painted with the perfection of microscopic detail that distinguishes 
Desgoffe's still life, the subject here is an agate vase mounted on a crimson 
velvet stand. The long curling lip is covered with enamelled gilt work ; the 
looped handle is of twisted green and gold, and around the base runs a row 
of knobs, enclosed in a gilt mounting. On the right of the stand lies a bracelet 
of decorated beads, and, on the left, a ring with an emerald setting. 

Signed at the lower left, "Blaise Desgoffe, '85." 

Height, 12)4 inches ; width, $}4 inches. 



R. GOB 



49— The Moon 

■ 



Poised upright amid clouds, the figure of the goddess is nude except 
for a slight wreath of blue flowers round the waist. She holds a white owl on 
her right hand, and in her left a long wand, terminating in a calyx from which 
ascends a thin flame. Her bow is slung upon her arm. 



Signed at the lower right, " Gob R." 

Height, 12*4 inches ; width, 8)4 inches. 



RAIMUNDO DE MADRAZO 

After Murillo 



50— St. Elizabeth of Hungary 

(Copv in reduced size of the original in th» Academia San Fernando, at Madrid) 

Painted in 1674, the original was one of eight large pictures executed 
by Murillo for the Hospital de la Caridad, Seville. Subsequently it was 
included in the loot carried to Paris by Marshal Soult, who gave it to 
Louis XVIII. at the Restoration. After resting for some time in the Louvre 
it was returned to Spain in 1815. 

The central figure is that of St. Elizabeth in the garb of a nun, with a 
crown on her head. She stands in a portico, washing the scald-head of a 
beggar boy, who leans over a silver basin placed upon a pedestal. To the 
queen's right are two young ladies holding, respectively, a ewer and a tray. 
Behind them stands a duenna. At the foot of the picture, on the left, sits 
a man removing a bandage from his leg. The group on the right consists of 
a beggar boy, a cripple, and an old woman seated on the floor, who is gazing 
up at the queen. In the distance, upon the right, the Saint is again shown 
with her ladies, serving a meal to poor people at a table arrayed in a loggia. 
The size of the original is, height, 165 inches; width, 126 inches. 

Height, 10 inches ; width, 8 inche*. 



GEORGES JULES AUGUSTE CAIN 



51— ^0 His Eminence 



At the bend in a flight of stone stairs a cardinal has halted and is turning 
round, with his hat lowered in his hand, as if accosting some one. Under his 
left arm he carries a black portfolio. The stairs lead to a doorway framed with 
pilasters, to the left of which is a deeply recessed entrance. 

Signed at the lower right, " Georges Cain, iSSj." 

Height, iz inches; width, 8j£ inches. 



EUGENE FROMENT 

52— A Spray of Loves 

/j / 

A bough shows against the blue sky, and amidst its foliage a swarm of 
tiny loves hovers in a semicircle. The composition has a charming naivete, the 
figures being sketched with facile grace. 

Signed at the lower right, " Eg. Froment." 

Height, 12*4 inches; width, 8^4 inches. 



LOUIS (called EMILE) ADAN 



53— Out for a Walk 

J 



At the bottom of a steep path in the pine woods a lady in white cos- 
tume and straw hat rests her foot upon a stone to arrange her shoe, revealing 
by the gesture a glimpse of scarlet stockings. She carries an alpenstock. 

Signed at the lower left, " L. Ismile Adan." 

Height, izj4 inches; width, 8^ inches. 



PAUL P. TROUILLEBERT 

54— Landscape 

At the right of the composition birch trees surmount a grassy slope, 
where a woman in blue and white costume is sitting. The bank descends to a 
little pool which reflects the whitish gray of the horizon, and beyond its willowy 
marge a field extends to a gray-roofed church. The sky overhead is filled with 
rolling clouds. The little sketch is tenderly suggestive, fresh and moist in tone. 

Signed at the lower right, " Trouillebert." 

Height, 12 inches ; width, Bj4 inches. 




/ JOSE VILLEGAS 

55— At the Door of the Harem 



Painter of the " Christening," and of the " Death of the Matador," the 
most robust of Fortuny's followers and the most able, Villegas shows to par- 
ticular advantage in a little picture like the present. In this subject of a stalwart 
Arab on duty before a closed door every detail counts, without, however, any 
confusion of effect or weakening of the central motive. In the beautiful elabo- 
ration of the architectural ornament, in the minute decoration of the flintlock, in 
the sumptuous embroidery of the robe, there is food for agreeable study, and yet 
the personality of the man stands out as the main theme. Beneath his languor- 
ous manner lies a power of energy, just as the southern fire of Villegas himself 
can be discerned beneath the sensuous splendor of the still-life painting. 

The soldier lolls against the side of a door richly inlaid with a latticed 
mosaic of cream and brown, and hung with heavy gilded fastenings, the surface 
of the walls being panelled with shallow arcades of carved niches. Above his 
bronzed face is a pink and white turban, and hanging from his neck, so as to 
leave the right arm and shoulder bare, a slaty-blue sash, profusely embroidered j 
while from his back a mustard-colored robe trails down to a decorated saddle at 
his feet. He holds a long musket, the stock of which is ivory, the woodwork 
inlaid, and the barrel wrought with arabesques in gilt. To the right of him lies 
a large brass bowl. 

The picture presents a series of charming morceaux, while still attaining 
a breadth of impression. 

Signed at lower left, " Villegas." 

Height, i z inches ; width, 8 inches. 



LOUIS DESCHAMPS 



56— An Appeal 



,76' 



Against a golden-brown background a pale-faced girl stands, holding out 
her hand with a gesture of entreaty. Her lips are parted, and her eyes are 
fixed with a tearful expression. The dress of brown material is sketchily 
suggested. 

Signed at the \owct right, ' * Louis Deschamps. 1 1 

Height, I 2 inches ; width, 8 inches. 



WILLIAM ETTY, R.A. 

1787-1849 

300 

57— The Toilet 

/ 

n //// ,* />.. 



Such a simple example as this is an agreeable variation from the historical 
and symbolical pictures with which Etty was largely identified. A lady is repre- 
sented at her toilet; her figure inclined to the right, and her head, which fronts 
us, lowered, as, with one hand poised above her dark hair, and the other held 
near the back of her neck, she arranges a scarlet ribbon. Her arms and neck 
are bare; a full chemise showing above the dull red stays, which have a scal- 
loped flounce, falling over the black skirt. An olive-gray drapery, woven with 
white leaves and red flowers, and a russet brown background complete a color 
scheme of rich sobriety, with which is pleasantly contrasted the ripe lustre 01 the 
flesh tints. 

Height, ioj4 inches; width, 8 inches. 



EASTMAN JOHNSON, N.A. . 

1 

58 -i- The Dull Scholar 

This is a charming example of Eastman Johnson's domestic genre, natural 
and full of character; moreover, an artist's interpretation of the subject, har- 
monious in tone and excellent in craftmanship. In the corner of a room with 
drab-olive walls, a little boy is seated on a high, rush-bottomed stool. He has 
one hand in the pocket of his greenish suit and another up to his mouth, looking 
meanwhile out of the edge of his eye, half rebelliously, half shyly. With the 
naiveti of the figure a picturesqueness of composition is united through the 
accessories introduced. On the wall to the right hang a gray and a blue military 
cloak and alongside them a brown one; while on the opposite wall is a bunch 
of accoutrements. An open book lies upon the floor. 

Signed at the lower right, " E. Johnson, 1861." 

Height, 1 1 inches ; width, 9 inche*. 



EDOUARD FRERE 

1819-1886 x * •> 




69 — »„,*/»/ ~ H 

In the unaffected sweetness of its sentiment and the subtlety dt its 
scheme of light and shade, this is an admirably characteristic example of the 
painter of Ecouen. A little girl stands with her back against a high window- 
sill, reading. The afternoon sun plays upon her brown hair, tips the scarlet 
of her scarf, and charges the atmosphere of the brown interior with dusty gold. 
In the shadow beneath the window the girl's blue apron forms a cool spot 
of color, and varieties of cool effect are introduced by a Louis XV. chair of 
drab woodwork upholstered with russet green, and by a basket and wicker- 
covered bottle which lie on the floor. There is a charming mellowness in the 
imbrowned tones of the picture, and a dainty refinement in the complementary 
hues, that invest the subject with a pensiveness and delicacy of sentiment. 

Signed at the lower left, " Ed. Frire, ' 57.'* 

Height, 1 5 inches ; width, 1 1 1^ inches. 



G. FRANCAIS ||D 

60 — Landscape^ ^ 

In the distance is a campagna, yellow in the light, bounded on the left 
by violet hills and having on the right a slight eminence. A pool of water lies 
on the right of the foreground, which is overhung by a steep bank, at the top 
of which a man and a woman stand, leaning upon a fence. A third figure 
appears to the left and others in the distance along a winding road. 

Signed at the left, " Francais, 1885." 

Height, 7 inches; length, it inchei. 



E. TOTTIERE 

61— ' Nymphs Bathing 

In a grassy spot bordered with trees some nymphs are preparing for the 
bath. On the right of the composition a nude girl is seated on a white draper)-, 
looking up at another who is balancing herself on one foot as she draws off 
her slipper. A third, with a blue veil streaming from her shoulders, is running 
toward a pool in the background, in which some figures are disporting 
themselves. 

Signed at the lower left. 

Height, 7 inches; length, 22 inches. 



LEON BARILLOT 

Cows Drinking; d 

// // / 4 

On the rushy margin of a river are three cows, one of which,' a white 
with patches of red, turns her head toward us. Several others are standing in 
the water, near the opposite bank. On the right of the farther pasture is a row 
of bluish-gray trees. 

Signed it the lower right, *' L. Barillot." 

Height, 7 inches; length, zx inches. 



02 — 



HENRI DITZSCHHOLD 

63— Ruins of a Roman Theatre 




The scene recalls the ruins of the Roman theatre at Fiesole. On the 
left of the composition tiers of seats, confused with fallen masonry, rise in the 
side of the hill, that slopes up to a wall over the top of which are visible some 
poplars and the roofs of a monastery. The ground on the right descends to a 
plain where water and buildings appear, the distance being bounded by blue 
mountains. In just such manner spreads the Mugnone Valley to the far bar- 
riers of the Apennines. 

Signed at the lower left, *• H. Dutzschhold." 

Height, 7 inches; length, 22 inches. 



I. FARNETZ 2J2,£T 



64— A River Scene 



Between banks dotted with pink roofs and white houses nestling amid 
trees, the vista of river stretches to a distant tower. In the foreground of 
the picture, on the right side, is a landing stage to which boats are moored. 
Gay pennons deck the mastheads, an American flag floats from a staff, and 
the animation of the scene is completed by the groups of brightly dressed 
people who throng the landing. Painted in a broad and vivacious style, the 
picture is full of life. 

Signed at the lower left, "I. Farnetz, 1885." 

Height, 7 inches; length, 22 inches. 



EUGENE BENSON 



65— At Biri Grande 

The scene represented is a loggia of Titian's country villa of Biri Grande, 
overlooking the Venetian lagoons. At the head of a long table, spread with 
plate and viands, the great artist is seated, with a lady on his left, at whose side 
is Bembo. The centre of the group at the other end of the table is the beau- 
tiful musician and poetess, Guspara Stumpa, playing on a mandolin. 

Signed at the lower right, " EB., '88, Veneris." 

Height, 7 inches ; length, 27 inches. 



R. SWAIN GIFFORD, N.A. 

(•>(>— v A Newport Landscape 

The foreground, covered with grass and brush, is bounded on the right 
by an abrupt mass of rocks. Farther back, on the left of the picture, are gr a y 
cliffs with yellow growth upon their tops, which recede toward the sand dunes in 
the distant centre. Beyond the latter is visible a strip of grayish-blue sea. 

Signed at the lower right, " R. Swain Gifford, 1887." 

Height, 7 inches ; length, 17 inches. 



FRANK D. MILLET, N.A. 




67 — A Knickerbocker Citizen 

A prosperous citizen of the Knickerbocker period is represented leaning 
over the lower half of his front door, smoking a long pipe as he gazes over 
the river. He wears a wide-brimmed black hat, and over his full white shirt 
a short cream-colored jacket, with capacious breeches of the same color. On 
the stone flagging to the right of the door stands a trestle on which is set a 
gris-de-Flandre jug with pewter lid. The picture is painted with the skilful 
precision that characterizes this painter's work. 

Signed at the lower left, " F. D. Millet." 

Height, 24 inches ; width, 8 inches. 



GEORGE H. BOUGHTON, N.A., R.A. 



68— Black-Eyed Susan 



Holding a nosegay, a young lady is walking beside the sea, which is 
bounded in the distance by gray cliffs with yellow herbage on their summits. 
Her costume consists of a black hat tied under the chin with ribbons, and a 
short black jacket, worn over a dress of white organdie. 

Signed at the lower left, " G. H. Boughton." 

Height, 24 inches ; width, 8 inches. 



R. SWAIN GIFFORD, N.A. 



69— Rocky Farm,' Newport 

The foreground of brown scrubby grass dips down in the centre, to 
the left: of which gray rocky formations crop out. A sheet of water winds 
through the middle distance, bounded on the left by a meadow that rises 
gently to a clump of trees. The land forms a strip across the background, 
showing golden brown against a blue horizon, over which is a sky piled with 
clouds that catch the light toward the left. 

Signed at the lower left, " R. Swain Giffbrd, I 88 1 .** 

Height, l6j4 inches; length, 3; inches. 



FLORENT WILLEMS 



TO— f%lp The Mother's Prayer 



In a room with high wooden panelling and deep blue hangings bordered 
with embroidery a young mother kneels beside her sleeping baby. Resting her 
elbows on the end of the cradle, she clasps her hands and gazes upwards. She 
is dressed in the elegantly simple costume of the seventeenth century — a dress or 
old-rose satin with full skirt, a tight bodice with hanging flounce, and white 
collar and cuffs. The cradle, raised above the rockers on four legs, is of wood, 
painted hlue, with pictures on the panels, one of which represents the Flight 
into Egypt. It is surmounted by a linen hood under which the head of the 
sleeping child is visible. 

Signed at the lower left, " F. Willens." 

Height, 16 inches; width, 1 2 inches. 



F. S. CHURCH, N.A. 



71 — ^ The Enchantress 



A tiger lies sideways, on the left of the picture, with its eyes fixed upon 
a young girl who sits blowing through a long, thin pipe into a brazier. In the 
smoke which curls up from the latter, doves are hovering. The girl's figure is 
wrapped in a diaphanous white robe, which shows vaguely against the pale green 
foliage and vapory distance. 

Signed at the lower right, " F. S. Church, N. Y., '87." 

Height, 71^ inches; length, 18 inches. 



A. KEAJDER 

no* 

72 — Flowers 

The bouquet consists of a crimson rose set amid white ones and sur- 
rounded by a profusion of buds. 

Signed at the lower left, " A. Keajder." 

Height, 7 inches; length, 22 inches. 



H. CONSTANTIN RENARD 




Upon a table lie a bunch of asparagus and some large red strawbeiri 
displayed upon a basket lid. Near by is a tumbler half full of water, and o\ 
the edge of the table projects a sharp-pointed kitchen knife. 

Signed at the lower left, " H. Constantin Renard." 

Height, 7 inches ; length, 22 inches. 



CHARLES CARYLL COLEMAN, A.N.A. 




74—- m%y A Capri Meadow 

. ^ . 

Beyond the meadow lies the blue water, with Vesuvius in the distance 
and a range of lavender mountains to its right. Near the centrcVinds a p a th 
beside which a girl is seated on a stone wall, talking to another, who stands 
knitting under a small tree. A little way from them a third is stooping to gather 
flowers. 

Signed at the lower right, " 3C Capri." 

Height, 6 inches ; length, 24 inches. 



CHARLES CARYLL COLEMAN, A.N.A. 



75— A Scqne in Capri 

An irregular mass of masonry gleams white against the deep blue of the 
sky. On some stone steps at the right sits a girl with a green water jar, and on 
an arch above her are two others, one of whom is dressing her hair, while two 
more stand at the left, holding jars upon their heads. 

Signed at the lower centre, ** X Capri." 

Height, 5 ^ inches ; length, 24 inches. 




HENRI JEAN GUILLAUME MARTIN 

76 — Sunshine and Shadow 




Within a violet shadow, that spreads in a band across the poppy- 
sprinkled meadow, a child lies on its back. Upon the edge of the shadow a 
large beech trunk grows, and a girl in pink dress stands near a flock of geese. 
Behind them the sunshine forms a streak of yellow, and in the distance are a 
farm and hills. The picture is an interesting little study by a painter who has 
won notable distinction in allegorical subjects, treated for the most part in a 
high key of color. 

Signed at the lower left, " Henri Martin, '86." 

Height, 7 inches ; length, 22 inches. 




J. CARROLL BECKWITH, N.A. 

& v 

77 — ®y> ^ Summer Evening 

The composition shows a vista of river in the front of which a lady is 
seated in a boat, holding the sculls. Her costume is black, and the flash of a 
scarlet feather in her hat is answered by the awning of a boat moored at some 
distance back, beneath a summer-house on the bank. Among the trees beyond 
appears also a red building. The sun is sinking into a bed of lavender haze. 

Signed at the lower left, "Carroll Beckwith." 

Height, 24 inches ; width, 8 inches. 



AMANDA BREWSTER SEWELL 

78— ' A Nymph J\ 

Clad in a Greek costume of soft creamy material, a girl approaches 
across the grass, sunshine sprinkled in flakes of light over her figure and upon 
the apple tree behind her. She walks in a pensive mood, with her left hand to 
her breast and a scroll held in her right. 

Signed »t the lower left, "A. B. Sewell, 1895." 

Height, 23 inches ; width, %)£ inches. 



KENYON COX, N.A. 

/ ^ 

79— On the Edge of the Brook 

A girl who is seated on a bank is robed in a white drapery that leaves 
her right arm and side exposed. A dull red drapery, held in her left hand, 
passes under the figure and reappears on the right side. Through the meadow 
beyond, a nude is swiftly moving away, with her hands held up to her head. 

Signed at the lower right, " Kenyon Cox, '87." 

Height, Z3 inches; width, B}4 inches. 



LUC OLIVIER MERSON 
80— Diana \ T p 

This painter of historical and allegorical subjects has occasionally exe- 
cuted decorative subjects, and the present is a miniature example of the latter. 
The goddess is represented reclining upon creamy clouds, flushed with rose, a 
black drapery falling over her knees. A cupid, poised above, whispers in her 
ear, and another floats beneath her. An owl hovers in the air. 

Signed at the upper left, " Lvc Olivier Mcrson, MDCCCLXXXV." 

Height, 24 inches ; width, 20 inches. 



THOMAS COLE, N.A. 

m 1801-1848 



81— A Roman Aqueduct 



One may see in this picture how Poussin and Salvator Rosa affected 
Cole's impression of Italy, and trace also something of the spirit which prompted 
his series of the " Course of Empire," The scene is wild and desolate, the 
wreck of a mighty past. The foreground is a confusion of fallen masonry, 
coarse grass, and scrub ; to the right is a ruin of ponderous vaulted roofs upon 
giant piers; and diagonally across the middle distance the broken line of an 
aqueduct, beyond which the desolate campagna continues to the foothills of the 
Alban Mountains. These are seen through clouds which float over the slopes 
in wreaths, or ascend like smoke to the warm creamy sky, where gray clouds 
are piled in masses toward the right. The picture is impressive, revealing an 
almost stem intensity of purpose. 

Signed on the back, " T. Cole, Florence, 1832," and inscribed, " Presented to W. A. Adams 
by T. Cole, 1834." 

Height, 1 4 inches ; length, z 2 J4 inche». 



EDWIN H. BLASHFIELD, N.A. 

4 vt o 




82— The Sculptor's Model 

A sculptor sits at a table, fashioning a figure in clay; while his model, y 
a young girl, reclines in a chair, swathed in rose-colored drapery. He himself" 
is nude but for a pale green drapery which hangs from his left shoulder and 
falls over his lap. The studio is lined with white marble inlaid with dull red 
panels, and along the wall is a marble lounge with green cushions. 

Signed at the lower right, " E. H. Blashfield." 

Height, \7*4 inches; length, inche«. 



AIME NICOLAS MOROT 

83— When the World was Young 

The scene of this little idyl is a grassy slope underneath a beech, where 
a shepherd lad is explaining to a young shepherdess the mysteries of the pan- 
pipes. She wears a white drapery, fastened below the breasts with a girdle, and 
a black skin loosely flung around her figure. The boy is nude. The girl's 
crook and hat lie beside her on the bank, at the foot of which is a little pool. 



Signed at the lower right, " Aime Morot, 1 886." 

Height, 24 inches ; width, 19^ inches. 



GEORGE H. BOUGHTON, N.A., R.A. 
84— V) v 7"/^ Cronies 

Perhaps one may detect in this very good example of George Boughton 
a certain influence of Jildouard Frcre, whose friendship and advice he enjoyed 
during his stay in Paris. Two old peasant women are seated before a large 
square fireplace ; one with her back to us, extending her hands toward the 
scanty glow, while her companion turns toward her, leaning forward in her 
talk. On the high mantel shelf stand bits of china, a little cross, books, and 
bottles. The white caps of the old women and touches of dull blue and red 
in their costumes unite with the drab wall to complete an agreeable tone effect, 
very grave and tender in feeling. 



Signed at the lower left panel, "G. H. Boughton, 1887." 

Height, 23 inches; length, 231^ inches. 



RAIMUNDO DE MADRAZ< 

ffrjLo 

85— A Spanish Beauty 

In a familiar vein, though more spontaneous than sometimes, Madrazo 
has here represented a girl in exquisitely dainty costume, sitting beneath a 
vine-covered trellis. His fondness for pink is again evident, in the hue of her 
skirt, delicately suffused with lavender ; and, as she crosses one leg over the 
other, she reveals a silk stocking of shell-like pink, and dangles in her right 
hand a yellow fan with a decoration of purple flowers. Her toes are tipped 
into embroidered slippers. A flash of accentuation is given to her figure by the 
black corset, cut square over the bosom, and edged with lace, while with studied 
negligence a white mantilla drapes her hair, in which there is the gleam of a 
crimson ribbon. Some red roses lie upon the ground beside her foot. 

The picture admirably represents Madrazo's pure and delicate coloring 
and the vivacity of his technique. 

Signed at the lower left, ** R. Madrazo." 

Height, 38^ inches; width, 28 j£ inches. 



GEORGE H. BOUGHTON, N.A., R.A. 




86—Marvell's Last Visit to Milton 

The group is gathered in front of a homestead, the lower story of which 
is built of red brick, with timber and plaster above. Covered with a long gray- 
wrapper, Milton sits in the centre, holding the hand of Andrew Marvell, his 
friend, who was his assistant when he was Latin Secretary to Cromwell, and 
who leans over him, with his disengaged hand on the back of the seat. To the 
right sits one of the daughters, gazing with solicitude into her father's face, 
while her hand rests upon a book on the table at her side. The other daughter 
stands behind the poet's chair, and a maid, carrying a tray, appears in the door- 
way. To the left of the main group a violoncello player sits beside a man 
who holds a book of music. The scene is bounded by a hedge, over the 
top of which a dovecote and trees are visible. 

The picture offers a good specimen of the old colonial subjects which 
have made Mr. Boughton popular on both sides of the Atlantic. 

Signed at the lower right, "G. H. Boughton." 

Height, 27 j£ inches; length, 6; inches. 



JOHN F. KENSETT, N.A. 

1818-1872 

87 — Windsor Castle 

j ** 

The scene is pictured from a point of view where now the railway 
bridge spans the river. The water stretches away from the foreground, with 
juicy green meadows on each side. Willows fringe the left bank, and on the 
opposite one a gate crosses the towing path, upon which, a little farther back, 
appears the figure of a man carrying milk pails, his herd of cows being strung 
out in two lines to the right. In the middle distance floats a barge with one 
mast, and other shipping is moored in the distance below the town, which 
nestles in tiers of red roofs beneath the castle rock. The ramparts and bastions 
rise in terraces to St. George's Chapel and the central keep, which loom softly 
gray in the warm haze of the evening sky, simmering overhead with roseate, 
creamy atmosphere. With characteristic delicacy of imagination and of treat- 
ment, the majestic pile and the simple charm of its rustic setting are rendered 
with true feeling alike for the grandeur and for the sweetness of the scene. 

Signed at the lower right, "). F. K., 1867." 

Height, t<)% inches ; length, 44 inches. 



SIR LAURENCE AL^MA-TADEMA, R.A, 




8^j. A Reading from Homer 



The spirit of the old Greek life, its grace of living, and beautiful environ- 
ment are revived in this picture with the fulness of learning and reasonableness of 
suggestion that render the work of Alma-Tadema unique. A poet is declaim- 
ing his verse to a small but intently sympathetic audience. They are gathered 
in a little amphitheatre of marble that stands on an eminence overlooking the 
blue sea, in front of a temple dedicated, we may believe, to Apollo. For the 
spot is evidently devoted to poetry, Homer's name being incised in the marble 
behind the reader's seat ; and hither he, who has some fine thought, and those 
who desire to " hear some new thing," can resort. 

Holding the roll of manuscript upon his knee and extending its iong 
scroll with his left hand, the poet, crowned with bay, leans forward in his seat 
gazing at a young girl in the group before him. Robed in white, with daffodils 
in her hair, she reclines against the back of the exedra, holding a tambourine 
decorated with figures on a red ground. One of her hands lies in the grasp 
of a young man who sits on the floor beside her with knees drawn up. He is 
resting his right hand on a lyre, which has graved ornaments and screw pins of 
brass. In front of him, prone upon the ground, lies a youth swathed in a short 
bearskin, who supports his chin on his hand as he looks up at the poet. To the 
left of the group stands a figure in a drab cloak, with a wreath of red and white 
anemones in his hair. 



Signed at the right, " Alma-Tadema, op. CCLXVII." 

Height, 36 inches ; length, 72 inches. 



JOSE VILLEGAS 

89— The Page 

Manifested in this picture are the feeling for the pomp and pride of 
life and a skill in the delineation of sumptuous textures that distinguish the fol- 
lowers of Fortuny, as well as a certain robustness of style, characteristic of 
Villegas himself Upon a scarlet carpet that forms a strip down the marble 
pavement, and, like it, is strewn with flowers, a page in elaborate costume of 
the Cinquecento stands, holding a velvet cushion. It is embroidered with a 
coat of arms, which reappears on the front of the young man's plum-colored 
doublet. The latter is edged with white fur round the neck and armholes, 
which leave exposed the gold and rose brocade sleeves of the undergarment. 
He wears a gold chain over his breast, and his legs are clothed in tights, magenta 
and flesh-colored respectively, with a magenta band round the calf Behind 
the figure rises a step on which stands a pedestal altar of carved marble. A 
tall wax candle leans against it, and in an arc behind it kneeling pages hold 
tapers, the lights from which shed smoke and glare into the upper darkness 
of the background. The color scheme is treated with effective breadth, while 
the details are delicately elaborated. 

Signed at the lower left, " Villegas, Hispalis, MDCCCLXXXV." 

Height, 78 inches ; width, 39 inches. 



LORD LEIGHTON, P.R.A. 

1830- 1896 




Mural Paintings 

A MYTHOLOGICAL TRI T TYCIJ ILLUSTRATING MUSIC 

90 I ' CENTRAL PANEL 

Against a background of dull gold, Mnemosyne is represented in an 
attitude of contemplation. She leans forward with one leg crossed over the 
other ; a pose that permits an intricate play of folds to her costume. This con- 
sists of an ashy purple robe, worn over a white chemise and wrapped round 
with dull amber drapery. Above her float two maidens, the upper sides or 
whose wings are blue, with under feadiers of dove gray and white. They hold 
respectively, a lyre and a scroll. In front of the Muse stand two tripods, a 
snake coiling round and rearing above the left one, while a branch of bay leans 
against the other. 

On the left of the composition is the standing figure of Melpomene, 
draped from neck to feet in slaty blue, with a grayish-purple veil floating from 
behind her head. The right hand, clasping a scroll, supports her left elbow, 
the left hand being against her cheek. The pendant to this figure is Thaleia. 
whose mantle of reddish plum color is drawn tightly over her head and form, 
so that only the face, looking upwards with a sad expression, and the right hand, 
grasping the white undergarment beneath her chin, are visible. 



Height, 85 inches; length, i3oinche«. 



91 — 



RIGHT PANEL 



A maiden, representing, perhaps, Terpsichore, pirouettes upon her toes, 
with her back toward us and her head looking over her shoulder, as she holds 
aloft a tambourine. By her side skips a nude boy with head thrown back, blow- 
ing into double pipes, one of which he holds in each hand. The maiden wears 
a robe of tea-leaf brown that leaves her right breast and shoulder bare, and 
round her floats a creamy drapery with golden shadows in the swirling folds. 

Height, 85 inches ; width, jo inches. 



92 LEFT PANEL 

Garbed in a rosy robe which leaves her arms and one leg exposed, a 
maiden, possibly figuring Erato, stands, poising a garland of roses above her 
head. At her feet, stooping to tune a lyre, is a winged girl with rich golden- 
brown feathers on her pinions, changing at the tip to bluish gray. 

Height, 85 inches j width, 50 inches. 

The background throughout the series is of dull gold, enclosed in borders 
of laurel or wave designs. The figures possess the exquisite grace of line and 
movement, and the draperies that chaste refinement in the disposure of folds 
and masses which distinguish Leighton's Neo-Greek subjects, and show to par- 
ticular advantage in subjects, such as these, of pure decorations. 



GEORGE H. BOUGHTON, N.A., R.A. 

93-*- ^ Golden Afternoon, Luccombe 
Chine, Isle of Wight 

Down the slope of hills in the foreground, to the left-' of which is a stile 
in a stone wall, a shepherd, accompanied by his collie, drives his sheep into a 
fold of hurdles that occupies the centre of the composition. Beyond this a line 
of trees is broken by the red roofs of a farmhouse, while a larger one appears 
farther back, surrounded by wheat ricks. On the right is a distant peep of blue 
sea, bounded by a range of chalk cliffs. The sky is blue, mottled with gTay 
and dun-colored clouds. 

Signed at lower left, «'G. H. Boughton, 1888." 

Height, 46 inches ; length, 84 inches. 




FIRST AFTERNOON'S SALE 
Saturday, January 24th, 1903 

BEGINNING PROMPTLY AT 3 O'CLOCK 

Antique Chinese Porcelain 

101 — Miniature V ase. 

Oviform bottle shaped. Mirror-black glaze. 

X02 — Miniature Ovoid Vase. 

Rose souffle glaze. Yung-cheng, 1723-1735. 

103 — Miniature Vase. 

Cylindrical. Mustard-yellow crackle glaze. 

104 — IV r iter's Water Jar. 

Globular form. Thin white porcelain, coated with an imperial yellow glaze ; phoe- 
nixes and cloud forms incised and enamelled in green and purple. 

105 — Writer's Water Dish. 

Thick porcelain of the Ch'icn-lung period ( 1 736—1 795). Incised and carved decora- 
tion beneath a pale celadon glaze. 

106 — Wint Cup. 

Hard paste. Outer surface covered with a minutely crackled apple-green glaze of 
fine iridescence. K'ang-hsi, 1662-1722. 



107 — Miniature V ase. 

Oviform bottle shaped. Minutely crackled mustard-yellow glaze. Tcakwood stand. 



108 — Writer's Water Jar. 

Globular form on tripod. Coral-red glaze of fine quality. Seal mark underneath. 
Ch'ien-lung, 1736-1795. 

1 OJ) — Miniature Bottle-shaped V ase. 

Mustard-yellow crackle glaze. Teak wood stand. 

110 — Imperial Wine Cup. 

Semi-eggshell porcelain of the Ch'ien-lung period (1736-1795). Miniature figures 
garden scenes, and other decoration exquisitely painted in enamels and gold. 
Seal mark pencilled in coral red. 

111 — Tripod Perfume Burner. 

Oviform. Covered with a brilliant glaze of caf'e-au-lait. Teakwood stand and 

cover. 

112 — Small Bottle-shaped Vase. 

With bulbous-shaped mouth. Invested with a pale green glaze. Yung-cheng, 
'723-I735- 

Height, 5 inches. 

113 — Quadrilateral V ase. 

Thin porcelain of the Ch'ien-lung period (1736-1795). Invested with mustard- 
yellow crackle glaze. Ribbon handles at neck. 

Height, 5 y x inches. 

114 — Miniature Oviform Vase. 

Covered with camelia-lcaf green glaze which is minutely crackled throughout. 

U5 Miniature Bottle-shaped Vase. 

Invested with a fine flambc glaze of red, purple, and black. K'ang-hsi, 1662-1722. 

116 Miniature Vase. 

Bottle shaped. Covered with grh-pearl glaze which is marked with a pronounced 
crackle. Seal mark of Ch'ien-lung (i73 6 - I 795) pencilled in blue underneath 
foot. 



117 — Miniature Oviform Jar, 

Thick porcelain. Invested with a brilliant glaze of ' cafi-au-la'tt . 



118— Writer's Water Vessel 

Outer surface covered with a brilliant red glaze of sang-de-baeuf tint. Ch'ien-lung, 
1736-1795. 

119 — Quadrilateral V ase. 

Hard paste. Covered with a pale turquoise-blue glaze. The Pa Kua, the eight 
diagrams or trigrams, carved in the paste in low relief. 

Height, %% inches. 

120 — Bottle-shaped Vase. 

With bulbous-shaped mouth. Of heavy texture which is invested with a brilliant 
mirror-black glaze. 

Height, 5 inches. 

121 — Small Bottle-shaped Vase. 

Mustard-yellow crackle glaze. 

Height, 5j£ inches. 

122 — Small Pear-shaped Vase. 

Invested with a deep brown and gold-dust souffle glaze. Mark of Ch'eng-hua, 
1465-1487. 

Height, 5 inches. 

123 — Fire Bowl. 

Semi-globular. Invested with a green glaze containing a delicate and uneven crackle. 

Diameter, 4 inches. 

124 — Cylindrical Vase. 

Thick porcelain. Invested with a mustard-yellow crackle glaze. 

Height, 5 inches. 

125 — Bottle-shaped Vase. 

Variegated enamel glaze in imitation of agate. 

Height, 6 inches. 

126 — Beaker-shaped V ase. 
Covered with a brilliant violet-color glaze. 

Height, 6 inches. 

127 — Oviform Vase. 

Hard paste of the K'ang-hsi period (1662-1722). Invested with a mustard-yellow 
glaze which is minutely crackled throughout. 

Height, 6 inches. 



128 — Globular Jar. 

Outside invested with a brilliant red glaze which is slightly streaked with purple round 
the shoulder. Inside and underneath, cream-white glaze. 

Diameter, inches. 

] 29 — Oviform Vase. 

Thick porcelain. Covered with a pale turquoise-blue glaze over a thin, delicate 
crackle. 

Height, 6 inches. 

130 — Incense Burner. 

Dense porcelain. Invested with a red glaze typical of " ox-blood" color. K'ang- 
hsi, 1662-1722. Teakwood cover. 

Depth, 2% inches. 

131 — Miniature Vase. 

Bottle shaped. Invested with camelia-leaf green crackle glaze. 

Height, 5 inches. 

132 — Bottle-shaped Vase. 

Thick porcelain. Invested with a monochrome glaze of deep violet. 

Height, 6 % inches. 

133 — Oviform Vase. 

Of crackle texture, and covered with an apple-green glaze of iridescent quality. 

Height, 5 inches. 

134 — Fire Bowl. 

Semi-globular form. Brown crackle texture, which is invested with a brilliant cafi- 
au-lait glaze. K'ang-hsi, 1662-1722. 

135 — Small Globular Jar. 

Clear white porcelain of the K'ang-hsi period (1662-1722). Decoration of floral 
scrolls in peach-bloom tint. Six-character mark pencilled in blue. Silver inlaid 
teakwood stand. 

Diameter, 4 inches. 

13G — Small Quadrilateral Vase. 

Thick porcelain. Invested with a sang-de-boeuf glaze applied over a pale celadon. 

Height, b% inches. 

137 Small Beaker. 

Invested with a monochrome glaze of camelia-leaf green. 

Height, inches. 

138 — Oviform Vase. 

Invested with a monochrome glaze of deep purple. 

Height, $>A inches. 



139 — Small Pear-shaped Vase. 

Thick porcelain of the K'ang-hsi period (1662-1722). Invested with iron-rust 
glaze of brilliant quality. 

Height, 7% inches. 

140 — Bottle-shaped Vase. 

Covered with a monochrome glaze of apple green, and minutely crackled throughout. 

Height, sji inches. 

141 — Bottle-shaped V ase. 

Invested with a brilliant mirror-black glaze ; mouth and foot of celadon crackle. 
Incised mark underneath. 

Height, dyi inches. 

142 — Oviform V ase. 

Thick texture. Covered with a fine iron-rust glaze. Teakwood stand. 

Height, 7% inches. 

143 — Writer's Water Jar. 

Fashioned after a fabulous beast. Covered with flambe glaze. (Repaired.) Teak- 
wood stand. 

144 — Writer's Water Jar. 

Similar to the preceding. (Repaired.) Teakwood stand. 

145 — Melon-shaped V ase. 

Invested with a monochrome glaze of camelia-leaf green over a minute crackle. 

Height, 5 inches. 

140 — Small Bottle-shaped Vase. 

Clear white porcelain of the Ch'ien-lung period (1 736-1 795). Decoration of 
dragon, fire emblems, and pearl of omnipotence in peach-bloom tint, and cloud 
forms and turbulent water in bleu-de-Nankin. Seal mark beneath. 

Height, 5j£ inches. 

147 — Miniature Fish Jar. 

Outside covered with a brilliant red glaze, slightly streaked with purple round 
shoulder. 

Diameter, A l A inches. 

148 — Porcelain Bowl. 

Chrysanthemum shape, the stem forming feet. Partially covered with flambe glaze. 
Teakwood stand. 

Diameter, 4^ inches. 



149 — Small Globular Vase. 

Covered with a monochrome glaze to imitate iron rust. 

Height, 3% inches. 

150' — Bottles ha ped V ase. 

In brilliant sang-d(-ba?uf ghzc. Ch'ien-lung, 1736—1795. 

151 — Small Ovi/orm Vase. 

With tubes at neck for hanging. Thick texture, which is coated with a caff-a u ~lait 
glaze over a pronounced crackle. K'ang-hsi, 1662— 1722. 

152- — Oviform Vase. 

Thick porcelain of the K'ang-hsi period (1662-1722). Invested with a rich brown 
and gold-dust glaze. 

Height, 5 inches. 

153 — Miniature Fish Jar. 

Clear white texture. The outer surface covered with a fine monochrome glaze of 
coral red. 

Diameter, 3J4 inches. 

154 — Small Cylindrical Vase. 

Thick texture, and covered with tea-dust glaze. Incised seal mark of Ch'ien-lune 
1736-1795. 

Height, s'A inches. 

155 — Lang- Yao Incense Jar. 

Circular form. Invested with a brilliant red glaze with faint purple shadings. Teak- 
wood openwork cover. 

Diameter, 5 inches. 

156 — Small Pearshaped Vase. 

Enamelled with a monochrome glaze of pale turquoisc-bluc, minutely crackled. 

Height, 6 inches. 

157 — Small Galipot. 

Thick texture, which is coated with a deep red glaze. The rim of neck is defined 
by a rim of brown crackle. Ch'ien-lung, 1736— 1795. 

Height, 6 inches. 

158 — Slender Ovi/orm Vase. 

Thin texture of the K'ang-hsi period (1662-1722). Invested with a monochrome 
glaze of camelia-leaf green. 

Height, S 'A inches. 



159 — Small Gourd-shaped Vase. 

Thick texture, and invested with a mottled red glaze. 

Height, b}4 inches. 

1G0 — Small Galipot. 

Clear white porcelain of the Yung-cheng period (1723-1735). Enamelled with a 
monochrome glaze of lapis-lazuli tint of soft, even quality. 

Height, 6 inches. 

161 — Galipot 

Clear white texture. Covered with a monochrome glaze of coral red of fine, even 
texture. Yung-cheng, 1 723—1 735. 

Height, 7 inches. 

162 — Miniature Fish Bowl. 

Clear white porcelain of the Yung-cheng period (1723-1735). Covered with a clair- 
de-lune glaze of fine texture. Seal mark underneath foot, pencilled in blue. 
Carved teakwood stand. 

Height, inches. 

163 — Oviform V ase. 

Thick texture. Invested with a flambe glaze of red and purple. Ch'ien-lung, 
1736-1795. 

Height, 7 inches. 

1 64 — Bottle-shaped Vase. 



Clear white porcelain of the Yung-cheng period (1723-1735). Floral scrolls, sceptre 
head, and leaf borders delicately engraved in the paste, beneath a turquoise-blue 
glaze. 

Height, 8Ji inches. 

165— Galipot. 

Thick texture. Covered with a mottled red glaze of brilliant quality. Ch'ien-lung, 
i73 6 -'795- 

Height, 7 inches. 

16G — Oviform Vase. 

Thin texture. Enamelled with a turquoise-blue glaze over a minute crackle. Yung- 
cheng, 1723-1735. 

Height, b% inches. 

167 — Bottle-shaped Vase. 

Globular body with tall, slender neck. Crackled texture, which is covered with a 
cafe-au-lait glaze. Lotus flowers, storks, and symbols modelled in low relief, 
and enamelled in blue and white. K'ang-hsi, 1662—1722. 

Height, 7 inches. 



1G8 — Pear-shaped Vase. 

Thin texture of the Yung-cheng period (1723-17 35). Covered with a turquoise- 
blue glaze, which is minutely crackled. 

Height, 9 inches. 

1 00 — Quadrilateral V ase. 

With rudimentary elephant-head handles and peach-shape panels. Heavy crackle 
texture, which is coated with a mottled red running glaze. Ch'ien-Iuntr 
x 736-i79S- 

Height, 7^ inches. 

170 — Bottle-shaped Vase. 

Thin porcelain. Invested with a pale turquoise-blue mottled glaze. Yung-cheng 
l 72.3-i735- 

Height, 9 inches. 

171 — Bottle-shaped Vase. 

Clear white porcelain of the Yung-cheng period (1723—1735). Invested with a 
brilliant brown glaze, which is marked with metallic spots. Teakwood stand 

Height, VA inches. 

172 — Oviform Vase. 

Clear white porcelain. Covered with a starch-blue gla-zc of fine, even texture 
beneath which is pencilled, in a darker shade of blue, chrysanthemum flowers 
and an elaborate scroll design. Yung-cheng, 1 7 23— 1735. 

Height, 1% inches. 

173 — Double Quadrilateral Vase. 

With rudimentary elephant-head handles. Invested with brilliant red glaze. 

Height, 9 inches. 

174— Galipot. 

Thick porcelain, which is coated with a red and purple flambe glaze. Ch'icn-lune 
1736—1795. Teakwood stand. 

Height, %% inches. 

175 — Bottle-shapea Vase. 

Thin texture. Invested with a fine monochrome glaze of camelia-leaf green, and 
crackled throughout. K'ang-hsi, 1662— 1722. 

Height, 9 inches. 

176 — Bottle-shaped Vase. 

With rudimentary handles. Thick porcelain of the Ch'ien-lung period (1736- 
1795). Covered with red and purple splash glaze. Incised seal mark. 

Height, 9 inches. 



177 — Flat Oviform Vase. 

Melon design. Vine and leaf scrolls carved in the paste beneath a rich green glaze. 
Chi'en-lung, 1 736-1795. 

Height, 9 inches. 

178 — Bottle-shaped Vase. 

Thick porcelain. Covered with a brilliant red glaze, which is mottled and shaded 
with purple. 

Height, 10 inches. 

179 — Apple-green Oviform V ase. 

Invested with an iridescent, translucent enamel, which is uniformly crackled with a 
network in brown lines. K'ang-hsi, 1662-1722. 

Height, 5 inches. 

1 80 — Bottle-shaped V ase. 

Covered with red and purple splash glaze. Dragon modelled in relief at the shoulder 
and neck. 

Height, 8 inches. 

181 — Oviform Vase. 

Thick texture. Invested with tea-dust glaze of soft, even quality. Ch'ien-lung, 
I736-I795- 

Height, q'/i inches. 

182 — Quadrilateral Vase. 

With rudimentary elcphant-hcad handles. Thick crackle texture, which is invested 
with a flambe glaze of red, purple, and brown enamels; peach-shape ornaments 
carved in the paste in low relief. Ch'ien-lung, 1736-1795. 

Height, S inches. 

183 — Pear-shaped Vase. 

Enamelled with a monochrome glaze of apple-green. Teakwood stand. 

Height, ■; inches. 

184 — Cylindrical Vase. 

Glazed in imitation of agate. Various symbols pencilled in pale blue. Teakwood 
stand. 

Height, 9 inches. 

185 — Bottle-shaped Vase. 

With rudimentary handles. Thick porcelain of the Ch'ien-lung period (1736- 
1 795)- I' lveste ^ w ' tn a brilliant red and purple splash glaze. Incised seal mark 
underneath foot. 

Height, 8}j inches. 



186 — Melon-shaped Vase. 

Thin texture. Monochrome glaze of camelia-leaf green, minutely crackled through- 
out. Melon vine in bearing, and butterflies pencilled in a darker shade of 
green. Ch'ien-lung, 1736-1795. 

Height, %% inches. 

187 — Small Galipot. 

Coarse texture. Invested with a brilliant red glaze splashed with purple. The rim 
of the mouth is defined by a line of brown crackle. 

Height, 6 inches. 

188 — Powder-blue Club-shaped Vase. 

Of the K'ang-hsi period (1662— 1722). Decoration of flowers and birds in gold over 
the glaze. 

Height, inches. 

189 — Flambe Vase. 

Bottle shaped, with rudimentary handles at neck. Of thick texture and invested with 
a red and purple splash glaze. Incised seal mark of the Ch'ien-lung period 
(1736-1795). (Slight repair.) 

Height, %% inches. 

190— Triple Gourd Vase. 

Hard paste of the Yung-chcng period (1723— 1735). Invested with finely crackled 
turquoise-blue glaze known as 14 fish-roe" crackle. (Repaired at neck.) Teak- 
wood stand. 

Height, S'yi inches. 

191 — Flambe Vase. 

Ovoid body, with tubular neck spreading at mouth. Clear texture of the Ch'ien- 
lung period (1736— 1795). Invested with a purple and dair-de-lune splash 
glaze. Incised seal mark. 

Height, %% inches. 

102 — Celadon Vase. 

Bottle shaped, with a bulging body. Ornamented with an elaborate design of scroll 
clouds etched in the paste, and the whole surface invested with a celadon glaze 
of typical color. Underneath, double ring mark of the K'ang-hsi period (1662— 
1722) and a leaf symbol pencilled in blue. 

Height, 10 inches. 

193 — Iridescent Iron-rust Vase. 

Galipot shaped. Enamelled with a dark brown monochrome glaze, thickly speckled 
with minute points of deep metallic lustrous aspect. K'ang-hsi, 1662-1722. 

Height, 9-4 inches. 



1 94 — Oviform V ase. 

Of the K'ang-hsi period (1662-1722). Covered with a brilliant monochrome glaze 
of camclia-leaf green minutely crackled throughout. The foot is enamelled 
underneath with the same glaze, which is also partially spread inside the 
mouth. Teakwood stand. 

Height, ())£ inches. 

195 — Oviform Vase. 

Coarse texture of the Ch'ien-lung period (1 736-1 795). Invested with a brilliant 
red glaze with faint splashes of purple. Mounted in gilt brass. 

Height, to inches. 

196 — Oviform Vase. 
Companion to the preceding 

Height, 10 inches. 

197 — Pilgrim-bottle Vase. 

Covered with a finely crackled turquoise-blue glaze, which varies in soft translucent 
tints, according to its depth. Yung-cheng, 1723—1735. 

Height, 10 \i inches. 

198 — Bottle-shaped Vase, 

With rudimentary handles. Thick texture of the Ch'ien-lung period (1736-1795). 
Invested with flambe glaze of red and purple tints. Incised seal mark. 

Height, 8# inches. 

199 — Vase. 

Globular body with cylindrical neck. Covered with an iridescent monochrome glaze 
of camelia-Ieaf green of uniform tint and fine quality ; minutely crackled. 
K'ang-hsi, 1662-17 22. 

Height, cjj£ inches. 

200 — Bottle-shaped Vase. 

Clear white texture. Invested with a paie celadon glaze. A dragon encircles the 
tubular neck, modelled in relief and glazed in peach-bloom tint, and round the 
bodv are cloud forms, dragon, and symbols etched in the paste. K'ang-hsi, 
1662-1722. 

Height, 8,'£ inches. 

201 Flambe Globular far. 

Dense texture. Invested with a splash glaze of various tints of red, purple, and 
brown. K'ang-hsi, 1662-1722. Gut metal collar. 

Height, 6 inches. 

202 — Boid. 

Of the Yung-cheng period (1723-1735)- Outside covered with a deep monochrome 
glaze of a coral-red tint. Underneath, seal mark and double ring pencilled in 
blue. 

Diameter, 8 inches. 



203 — Circular Dish. 



Thick texture. Invested with a deep mazarin-blue glaze, thickening in centre and 
underneath. Teakwood stand. 

Diameter, 8 inches. 

204 — Ch'ien-lung Plate. 

Covered with a monochrome glaze of rose tint. (Repaired.) 

Diameter, 3 inches. 

205 — Oviform V ase. 

Thin texture of the Ch'ien-lung period (1736-1795). Invested with a pale pink 
souffle glaze. Symbolical bat and cloud forms pencilled in a darker shade. 

Height, &yi inches. 

206 — Oviform V ase. 

With spreading neck and rudimentary stork-head handles. Invested with finely 
crackled turquoise-blue glaze, which extends over the rim inside the mouth, 
and over which are pronounced metallic streaks. Yung-cheng, 1 723-1 735. 

Height, 11 inches. 

207 — Club-shaped Vase. 

Of good form and finished technique. Enamelled with the red glaze of the Lan^- 
Yao of the reign of K'ang-hsi (1662-1722). The surface of the glaze 
exhibits a superficial network of crackle lines and reflects the tints of sang~^ e . 
bceuf. 

Height, 9% inches. 



208 — Melon-shaped Vase. 

Modelled in form of an ordinary melon, with vertical grooves, and coated with a 
monochrome glaze of emerald green of iridescent texture, and minutely crackled 
throughout. K'ang-hsi, 1662-1722. 

Height, 9 inches. 



209 — Galipot. 

Coarse texture of the Ch'ien-lung period (1 736-1 795). Invested with a mono- 
chrome glaze of brilliant red. 

Height, 10 inches. 



210 — Flat Oviform Vase. 

With rudimentary elephant-head handles. Dense texture of the K'ang-hsi period 
(166 2- 1 722). Coated with a thick monochrome glaze of tea-dust color. 
Incised seal mark. 

Height, 11 inches. 



211 — Quadrilateral Vase. 

With raised rim and corner ornaments. Coated with a deep violet and pale turquoise- 
bluc glaze, which is minutely crackled throughout, and flecked with metallic 
spots. K'ang-hsi, 1662-1722. 

Height, 10% inches. 

212— Beaker Vase. 

Thick texture. Invested with a mustard-yellow glaze, which is minutely crackled 
throughout. Teakwood stand. 

Height, \i% inches. 

213 — Flambe Vase. 

Hexagonal bottle shaped, with tubes at neck for hanging. Dense crackled textuie, 
which is invested with a variegated splash glaze of red, purple, and green tints. 
Ch'ien-lung, i73 6 -'795- 

Height, tij£ inches. 

214 — Quadrilateral Vase. 

Coated with a monochrome glaze of camelia-leaf green of perfect purity, and minutely 
crackled throughout. K'ang-hsi, 1662-1722. 

Height, 12 inches. 

215 — Oviform Flambe Vase. 

Fashioned after a lily, and with chimera-head and ring handles. Of thick crackled 
texture, which is invested with red and purple splash glaze. Ch'ien-lung, 
1 736-1795. 

Height, 13 inches. 

216 — Pear-shaped V ase. 

Of the Ch'ien-lung period ( 1 736-1795). Coated with a monochrome glaze of tea 
color of soft, even quality. 

Height, 11 inches. 

217 — Bottle-shaped Vase. 

Globular body with tall, cylindrical neck. Of thick texture, and enamelled with a 
brilliant ruby-red glaze. K'ang-hsi, 1662-1722. 

Height, 12 inches. 

215 — Bottle-shaped Vase. 

Thin texture of the Tao-kuang period (1 821- 1850). Invested with a monochrome 
glaze of imperial yellow, underneath which are dragons amid cloud forms and 
fire emblems etched in the paste. 

Height, 12 inches. 

219 — Bottle-shaped Vase. 

Of the Yung-cheng period (1723-1735)- Globular body with tall, tubular neck. 
Enamelled with a rich translucent glaze of turquoise tint, which is minutely 
crackled throughout with a network of defined lines. Teakwood stand. 

Height, 13 inches. 



220 — Quadrilateral Vase. 

With chimcra-head handles. Of dense crackled texture, which is coated with a flambe 
glaze of brilliant red and purple tints. Ch'ien-lung, 1736-1795. Carved 
teakwood stand. 

Height, 12 inches. 

221 — Pear-shaped Vase. 

Dense texture of the Ch'ien-lung period (1736— 1795), and invested with a brilliant 
red and purple splash glaze. 

Height, 14 inches. 

222 — Oviform Vase. 

Clear white porcelain of the Yung-cheng period (1 723-1735). Covered with a bril- 
liant turquoise-blue glaze of fine texture, and minutely crackled throughout. 
Carved teakwood stand. 

Height, 10 inches. 

223 — Flambe Jar. 

Globular form with wide mouth. Coarse crackled texture of the Ch'ien-lung period 
(1 736-1795), and coated with a dark red and purple splash glaze, which also 
spreads inside the mouth. Teakwood stand. 

Height, 9 inches. 

224 — Bottle-shaped Vase. 

Of graceful form and fine texture of the Ch'ien-lung period (1736-1795). Invested 
with a tea-color glaze of perfect purity. Incised seal mark underneath. 

Height, 14 inches. 

225 — Flambe Jar. 

Globular body with spreading neck. Thick texture of the Ch'ien-lung period (1736- 
1795), and enamelled with a red and purple splash glaze with well defined 
crackle. Teakwood stand. 

Height, 11 inches. 

22G — Brilliant Turquoise-blue V ase. 

Graceful oviform shape, with cylindrical neck spreading at the mouth. Of thin tex- 
ture of the Yung-cheng period (1723— 1735), which is invested with a finely 
crackled turquoise-blue glaze, known as "fish-roe" crackle, which extends over 
the rim, inside the mouth. The foot underneath is unglazed, and shows a buff- 
colored paste. 

Height, 15 inches. 

227 — Bottle-shaped V ase. 

Dense texture of the Ch'ien-lung period (1736—1795"), and enamelled with a dark 
coffee-colored souffle glaze of fine quality and brilliant iridescence. Inscription 
in black, and incised seal mark underneath the foot. 

Height, 13 inches. 



228 — Flambe Vase. 

Graceful oviform, with cylindrical neck spreading at the mouth. Crackled texture, 
with decoration of dragons and symbols in bleu-de-Nankin on a white ground, over 
which is a splash or flambe glaze of dark brown, red, and purple tints. K'ang- 
hsi, 1662-1722. 

Height, 16 inches. 



229 — Brilliant Flambe Vase. 

Graceful pear shaped. Dense texture of the Ch'ien-lung period (1736— 1795), coated 
with a brilliant red and purple splash glaze. Teakwood stand. 

Height, 13^ inches. 



230 — Oviform Vase. 

With low cylindrical neck spreading at the mouth. Covered with a monochrome 
glaze of camelia-leaf green of fine quality, and minutely crackled throughout. 
K*ang-hsi, 1662-1722. 



Height, 14 inches. 



231. — Bottle-shaped Vase. 

Thin texture of the K'ang-hsi period (1662-1722), and invested with a glaze of 
brownish yellow, mottled with clouds of darker brown and olive green. Teak- 
wood stand. 

Height, I2j4 inches. 



232 — Graceful Bottle-shaped Vase. 

Thick white porcelain of the Ch'ien-lung period (1 736-1 795), with rudimentary ele- 
phant-head handles, and a decoration of leaf bands and ornamental borders, 
worked in slight relief in the paste, under a monochrome glaze of brilliant red; 
the rim of the lip showing streaks of purple tint. 

Height, inches. 



233 — Turquoise-hlue far. 

Thick texture of the Ch'ien-lung period (1 736-1 795). Decoration of floral scrolls 
and palm leaf, key pattern and sceptre-head bands and borders, worked in 
slight relief in the paste, beneath a minutely crackled turquoise-blue glaze, 
which is mottled with a deep violet. 

Height, 10 inches. 



234- — Bottle-shaped Vase. 

Globular body with slender, tubular neck. Thick porcelain of the Ch'ien-lung period 
( 1 736-1 795), coated with a flambe glaze of fine texture of red and purple tints. 
Teakwood stand. 

Height, \?,% inches. 



235 — Turquoise-blue Oviform Jar. 

With rudimentary elephant-head handles. Sonorous porcelain of the Yung-cheng 
period (1713-1735)) and. invested with a finely crackled glaze of mottled tones 
of the purest turquoise tint. Teakwood stand. 

Height, 13 inches. 

23G — Iridescent Iron-rust Vase. 

Globular body with tall, tubular neck and sonorous texture. Enamelled with a dark 
brown monochrome glaze, thickly speckled with minute Dointsof metallic lustrous 
aspect. K'ang-hsi, 1 662-1 722. 

Height, 16 inches. 

237 — Flambe Bottle-shaped Vase, 

Thick, crackled texture of the Ch'ien-lung period (1736-1795), and coated with a 
flambe or splash glaze of brilliant red, purple, and dair-de-lune tints. Incised 
seal mark underneath the foot, which is invested with a brown mottled glaze. 

Height, I5# inches, 

238 — Oviform Jar. 

Modelled after an ancient bronze. Covered with a monochrome glaze of intense and 
rich sapphire blue. The decoration, which is boldly worked in the paste, in 
relief, under the glaze, consists of a five-clawed dragon, phoenix, the pearl of 
omnipotence, and numerous cloud forms. Ch'ien-lung, 1736-1795. 

Height, 13 inches. 

239 — Large Galipot. 

Fine texture of the Ch'ien-lung period ( 1 736-1 795), which is invested with a mottled 
and streaked red glaze of brilliant quality, with purple tints at neck. Incised seal 
mark underneath the foot, which is coated with a mottled brown glaze. 

Height. 14^ inches. 

240 — Brilliant Flambe Vase. 

Globular body with tall, cylindrical neck. Crackled texture of the Ch'ien-lung period 
(1736— 1795), and enamelled with a red and purple splash glaze. 

Height, 17 inches. 

241 — Bottle-shaped Vase. 

Fine sonorous porcelain of the Ch'ien-lung period (1 736-1 795), invested with a mono- 
chrome glaze of pale tea-color of perfect purity. Incised seal mark underneath 
the foot. 

Height, 14 inches. 

242 Graceful Bottle-shaped Vase. 

Globular body with tall, slender, tubular neck. Invested with a rich translucent glaze 
of starch blue, which is applied so as to leave a well defined white rim round the 
mouth, and over a pronounced crackled surface marked by brown lines. K'ang- 
hsi, 1662-1722. 

Height, iGj^ inches. 



243 — Flambe Bottle-shaped Vase. 

Globular body with tall, cylindrical neck. Dense crackled texture of the Ch'ien-lung 
period (i 73^*— 1 795)> an d coated with a red and purple flambe glaze of iridescent 
quality. 

Height, 14 inches. 

244 — Bottle-shaped Vase. 

Of graceful form. Clear white porcelain, invested with a mottled cobalt glaze of 
fine texture, known as "powder blue" or " mazarin blue." The foot under- 
neath is glazed in white, and a well defined white rim is round the mouth. 
Yung-cheng, 1723-1735. Teakwood stand. 

Height, 17 inches. 

245 — Sang-de-ba'uf Oviform V ase. 

Of the celebrated Lang-Yao of the reign of K'ang-hsi (1662-1722), covered with 
the characteristic monochrome glaze of sang-de-baeuf. The vase is pale green 
towards the mouth, where a network of crackle is clearly visible ; red on the 
body, where the glaze runs down towards the foot in richly mottled streaks; and 
of dark sanguineous tint on the shoulder, where the glaze is thickest; at the 
bottom it has "run " and congealed. The rim round the mouth is defined by 
a line of pale brown, and the mouth is covered inside with a pale celadon glaze 
crackled with brown lines. The base is covered underneath with a brown 
crackled soft glaze. Teakwood stand. 

Height, 11% inches. 

24G - — Lang- Yao Sang-de-ha:uf Vase. 

Bottle shaped. Invested with a glaze which displays all the rich sang-dt-bmuf 'tones. 
The foot underneath is covered with a gray rice-colored glaze. The neck has 
been ground down and capped with metal. K'ang-hsi, 1662— 1722. Carved 



teakwood stand. 



Height, n inches. 



247 — Oviform Vase. 

With spreading mouth. Thin porcelain of the Yung-cheng period (1723- 1 735), and 
enamelled with a translucent glaze of peacock green mottled with sapphire blue, 
which varies in tone according to the depth, and extends over the rim, inside the 
mouth. Crackled throughout with a network of well defined lines representing 
"fish-roe" crackle. Teakwood stand. 

Height, 14 inches. 

248 — Large Pear-shaped V ase. 

Thick porcelain of the Ch'ien-lung period (1736-1795), and enamelled with a 
brilliant glaze of the characteristic sang-de-bceuf type over a crackled ground. 
The mouth is covered inside with rice-colored crackled glaze, and the same glaze 
covers the base underneath. 

Height, 17 inches. 



249 — Turquoise-blue V ase. 

Of graceful cylindrical form, and fine texture of the K'ang-hsi period (1662-1722). 
The surface is covered with etched designs, consisting of a group of lions sporting 
with brocade balls tied with waving fillets, and invested with a minutely crackled 
glaze of pure turquoise tint; and numerous cloud forms are in dark blue. Band 
of sceptrc-hcad design round base. Foot underneath coated with a deep violet 
glaze. Teakwood stand. 

Height, 19 inches. 

250 — Bottle-shaped Vase. 

Crackle texture of K'ang-hsi (1662-1722). Decorated with a bold dragon in bhu-di- 
Nank'm, and coated with a flambe glaze of sang-de-bceuf, olive green, purple and 
other tints. 

( Height, inches. 

251 — Decorated Turquoise-blue Vase. 

Oviform, with tubular neck, which is capped by a scalloped collar worked out in the 
paste. Covered with a monochrome glaze of brilliant turquoise tint, which is 
minutely crackled throughout. The decoration, which is etched in the paste, 
consists of elaborate conventional scrolls of peonies round the body and neck' 
with a band of gadroons below. The foot is enamelled underneath with the 
same glaze as the vase. K'ang-hsi, 1662-1722. 

Height, 25 inches. 

252 — Flambe Bottle-shaped Vase. 

Globular body with tall, tubular neck. Crackled texture of the Yung-cheng period 
(1723-1735), which is enamelled with a " strawberry " splash glaze. Teakwood 
stand. 

Height, 16 inches. 

253 — Large Vase. 

Globular body with cylindrical neck. Invested with a dark green celadon glaze ap- 
plied over a pronounced brown crackled surface. K'ang-hsi, 1662-1 722. ' 

254 — Tall Hexagonal Vase. 

Of graceful form and finished technique. Sonorous porcelain of the Ch'ien-luns 
period (1736-1795). Invested with a monochrome glaze of powdered-tea color 
of uniform tint and very fine quality. The foot underneath is coated with the 
same glaze, and has an impressed seal mark. Finely carved teakwood stand 

Height, 28 inches. 

255 — Large Bottle-shaped Vase. 

Globular body with tall, cylindrical neck. Thick porcelain of the Ch'ien-lung period 
(1 736-1795)1 a » d covered with a glaze of pale sea-green tone. The decoration 
in relief modelling, fashioned after an ancient bronze, consists of bands of archaic 
design and borders of sceptre heads and gadroons. Underneath foot, seal mark I 
pencilled in blue. Carved teakwood stand. 

Height, 25 inches. 



SECOND AFTERNOON'S SALE 
Monday, January 26th, 1903 

BEGINNING PROMPTLY AT 3 O'CLOCK 
25 G — Cup and Saucer. 

Lotus design. Old Chinese hard paste. Decoration of miniature figures and floral 
festoons. 

257 — Covered Pitcher. 

Hard paste of the Ch'ien-lung period (i 736-1 795). Decoration of foliage and land- 
scape in various enamels. 

258 — Miniature Vase. 

Oviform. Covered with a monochrome glaze of camelia-leaf green, minutely 
crackled. 

259 — Miniature Bottle-shaped Vase. 
Coated with a thick mottled glaze. 

2G0 — Cup and Saucer. 

Pekin enamel. Decoration of floral scrolls and medallions, on pink ground. 

2G1 — Porcelain Bowl. 

Leaf patterns modelled in low relief in the paste. Brilliant emerald-green glaze. 

262 — Bowl. 

Clear white porcelain of the Ch'ien-lung period (1736-1795). Outside covered with 
robin's-egg souffle glaze. Seal mark in coral red. 



2G3 — Incense Bowl. 

Outside covered with orange-yellow glaze. Decoration of .dragon chasing the pear' 
of omnipotence etched in the paste and enamelled in emerald green. Incised 
four-character mark. Wan-li, 1573-1619. 

Height, 3 inches. 1 

264— Teapot. 

Hard paste. Decoration illustrating the dragon festival in green, red, and yellow 
enamels. 

265 — Tea Caddy. 

Old Canton. Decoration of baskets of flowers in arabesques, in coral-red, gold, anc 
other enamels. 

266 — Small Tray. 

Lotus-leaf shaped. Old Chinese porcelain, coated with green glaze. 

267 — Tea Bowl. 

Brown crackle texture. Dragons, fire emblems, and sacred pearls in bleu-de-N an iin. 

268 — Two Bowls. 

Leaf design. Coated with a monochrome glaze of brilliant emerald green. 

269 — Teapot. 

Famille rose. Floral medallions and scrolls. 

270 — ■ Lotus-leaf Tray. 

Invested with a monochrome glaze of leaf green. 

271 — Covered Bowl. 

Pure white semi-eggshell texture. Decoration of mandarin figures, birds, and flowers, 
in fine enamels and gold. 

272 — Two Tea Bowls. 

Brown crackle texture. Decoration of dragons, fire emblems, and the sacred pearl if 
bleu-dt-Nankin. 



273 — Teapot. 

Old Canton. Decoration of mandarin figures, garden scenes, and medallions in 
various enamels enriched with gold. 

274 — Small Covered Pitcher. 

Old Canton. To match the preceding. 

275 — Large Bowl. 

Thick porcelain of the Hsien-feng period (1851-1861). Outside decoration of floral 
sprays, scrolls, plum blossoms, pine tree, bamboo, and storks on alternate stripes 
of salmon, yellow, and pale blue. Inside coated with turquoise-blue glaze. 

Diameter, 7 inches. 

276 — Celadon Fire Bowl. 

Globular shape. Thick porcelain of the Ch'ien-lung period (1 736-1 795). Decora- 
tion of floral scrolls and a band of gadroons worked in the paste, in slight relief, 
beneath a pale green translucent glaze. 

Diameter, 4 inches. 

277 — Miniature Vase. 

Thin porcelain of the Ch'ien-lung period (1736— 1795)- Covered with a mono- 
chrome glaze of orange yellow. 

278 — Small Bottle-shaped Vase. 

Crackle texture. Invested with a monochrome glaze of apple green. 

279 — Pih-tong. 

Thick porcelain. The decoration, which is carved in low relief, consists of land- 
scape and water scene, and is coated with an olive-green enamel. Incised four- 
character mark underneath the foot. 

Height, Sjj inches. 

280 — Bottle-shaped Vase. 

Coarse texture of the Ch'ien-lung period (1736-1795). Covered with a brilliant 
mottled red glaze, over which is a decoration of floral medallions in enamels 
and gold. European mountings in gilded brass. 

Height, 10 inches. 

5J81 — Oviform Vase. 

Clear white porcelain, K'ang-hsi period (1662-1722). Coated with a brilliant 
powder-blue glaze. Decoration in four panels. 

Height, 9ji inches. 



282 — Pilgrim-bottle Vase. 

With rudimentary dragon handles. Thick porcelain of the Ch'ien-lung period (i 736- 
1795). Coated with a mottled red glaze, partially covering the outside surface, 
underneath which is a pale green glaze with a pronounced crackle. 

Height. 9^ inches. 

283- — Large Bowl. 

Thin texture of the K'ang-hsi period (1662-1722).' Decoration of conventional 
dragons and floral scrolls in green, yellow, and red enamels. 

Diameter, 8 inches. 

284 — Pair Vases. 

Flat oviform. Thick porcelain of the Ch'ien-lung period (1 736-1 795). Decoration 
in black outline, touched with salmon pink, consists of figures of priests and 
philosophers, and sprays of flowers. Mark underneath foot, symbol of lon- 
gevity. 

Height, 10 inches. 

285— Plate, 

Semi-eggshell porcelain of the K'ang-hsi period (1 662-1 722). Decoration of interior 
view with mandarin figures, garden scene, and medallion borders, in various 
enamels enriched with gold. 

Diameter, 8 inches. 

28G — Tea Bowl. 

Semi-eggshell porcelain. To match the preceding. 

287 — Caps and Saucers. 

Decoration of mandarin figures and other designs in harmony with the preceding bowl. 

7 pieces. 

288— Galipot. 

Coarse texture of the Ch'ien-lung period (1736-1 795). Invested with a gray crackled 
glaze which has a slight red and purple mottling. 

Height, &>4 inches. 

289 — Quadrilateral Flambe Vase. 

Thick porcelain of the Ch'ien-lung period (1736-1795)- Coated with a brilliant red 
and purple splash glaze, with the corners and rim of mouth uncovered bv 
enamel; uniformly crackled throughout. 

Height, 11 inches. 

290 Bottle-shaped Vase. 

Globular body with tall, tubular neck. Thin porcelain of the Yung-cheng periot 
(1723-1735)- Covered with a monochrome glaze of an intense and rich sap- 
phire blue. 

Height, 12 inches. 



291 — Pear-shaped Vase. 

Of graceful form. Dense porcelain of the Ch'ien-lung period (1736—1795), which 
is coated with a flambe or splash glaze of red and purple tints. 

Height, 13 inches. 

292 — Bottle-shaped Vase. 

Thick texture of the Ch'ien-lung period (1736-1795), and enamelled with a mot- 
tled red glaze, with faint purple tints round the mouth. 

Height, 12 inches. 

293 — Pear-shaped Vase. 

Thick porcelain of the Ch'ien-lung period (1 736-1795), which is invested with a 
monochrome glaze of deep red of sang-de-baeuf type. Mounted in gilded 
brass. {Repaired at lip.) 

Height, 11 '. inches. 

294 — Bottle-shaped Vase. 

Thin porcelain of the Ch'ien-lung period (1 736— 1 795). Covered with monochrome 
cobalt-blue gla/.e. 

Height, 12 inches. 

295 — . Bottle-shaped Vase. 

Of graceful form. Coated with a mottled red and purple splash glaze of brilliant 
quality. Ch'ien-lung, 1 736—1 795. 

Height, 16 inches. 

29G — Bottle-shaped Vase. 

Oviform body with tall, tubular neck spreading at mouth. Invested with a turquoise- 
blue enamel of finely crackled texture and mottled greenish tone, the typical 
"peacock green" of the Chinese. K'ang-hsi, 1662-1722. Carved teak- 
wood stand. 

Height, \i% inches. 

297 Flamhe Bottle-shaped Vase. 

With ribbed body and neck. Dense texture of the Ch'ien-lung period (1736-1795), 
and covered with a mottled red and purple glaze. 

Height, 14 inches. 

298 — Tall Bottle-shaped Vase. 

Ovoid body with slender cylindrical neck. Enamelled with a brilliant flambe glaze 
of red and purple tone. Incised seal mark of Ch'ien-lung period (1736-1795) 
underneath the foot, which is coated with a mottled brown glaze. 

Height, ti) inches. 



29d — Vase. 

Graceful form, with flaring mouth. Thin white texture of the Yung-cheng period 
(1723-1735). Enamelled with a brilliant turquoise-blue glaze of fine quality 
which extends over the rim, inside the mouth, and invests the base of the foot' 
with the exception of the circular rim, which is partially unglazed and shows the 
texture of the paste. Carved teakwood stand. 

Height, 9 inches. 

300 — Graceful Bottle-shaped Vase. 

Tall oviform with slender, tubular neck. Dense texture of the Ch'ien-lung period 
(1736-1795). Invested with a brilliant splash glaze of mottled red and purple 

Height, 20 inches. 

301 — Brilliant Flambe Jar. 

Oviform, with rudimentary elephant-head handles. The body is carved in bamboo 
design, slightly decorated in blue-eL-Nankln, and invested with splashes of varied 
tints, passing from brown and purple to intermediate shades of crimson, where 
the glaze is thickest. K'ang-hsi, 1662-1722. 

Height, 11 inches. 

302 — Turquoise-blue Bottle-shaped V ase. 

Thin porcelain of the Yung-cheng period (1723-1735). Covered with a rich mono- 
chrome glaze of turquoise of the "peacock-green" tint, which is minutelv 
crackled throughout. 

Height, 15 inches. 

303 — Bottle-shaped V ase. 

GI obular body with tubular neck. Crackled texture of the Yung-cheng period 
( 1 7 2 3~ 1 735)- Enamelled with a brilliant fiambe glaze of brown, purple, and 
crimson tints. Carved teakwood stand. 

Height, 16 inches. 

304 — ■ Turquoise-blue Bottle-shaped Vase. 

With tall cylindrical neck. The glaze is of pale turquoise-blue tint of rich trans 
lucence, minutely crackled, representing "fish-roe" crackle. Ch'ien-lu n 
I736-I795- 

Height, 16 inches. 

305 — Flambe Bottle-shaped Vase. 

Brown crackled texture of the Yung-cheng period (i723- r 735)- Enamelled with 
"strawberry " splash glaze of crimson, purple, and olive-brown tints. Carved 
teakwood stand. 

Height, 16 inches. 



306 — Large Plate. 

Sonorous porcelain of the Yung-cheng period (i 723-1 735). Invested with a fine 
monochrome glaze of imperial yellow over a decoration of dragons, fire emblems, 
and the sacred pearl. Border of floral sprays, which is etched in the paste un- 
derneath. Six-character mark, within a double ring, pencilled in blue. Carved 
tealcwood stand. 

Height, 12% inches. 

307 — Large Bowl. 

Thick white texture. Outside enamelled with a brilliant red glaze, which thickens at 
rim and foot. Inside decorated in bleu-de-Nankin, with bold dragons, amid cloud 
forms and fire emblems, chasing the pearl of omnipotence. Four-character 



mark of Cheng-hua (1465-1487). 



Diameter, 16 inches. 



308 — F Iambi Bottle -shaped Vase. 

Globular body with flaring base and mouth. Thick porcelain of the Yung-cheng 
period (1723-1735), and invested with a brilliant flambe glaze of varied tints. 
Carved teak wood stand. 

Height. 15 inches. 

309 — Graceful Bottle-shaped Vase. 

Sonorous porcelain of the Ch'ien-lung period (1 736-1 795). Enamelled with a 
minutely crackled turquoise-blue glaze over an elaborate floral and scroll decora- 
tion etched in the paste. 

Height, iSJi inches. 

310 — Lacework Bowl. 

Semi-eggshell porcelain, pierced floral design, representing conventional peonies amidst 
leafy scrolls, which is filled in with glaze so as to form a delicate "rice-grain " 
transparency, and giving the effect of lacework. Ch'ien-lung, 1 736— 1 795. 
Seal mark pencilled in blue. 

Diameter, 5 inches. 

311 — Rose-back Eggshell Plate. 

Enamelled on the back, round the border, with a deep rose ground, and on the front is 
a decoration in enamels and gilding. The field is filled with a basket of flowers 
and a dish of fruits, and this is framed by encircling bands and borders of ara- 
besques, diaper and scroll ornaments, all painted in delicate enamels. 

Diameter, 6)4 inches. 

312 — Decorated Plate. 

Clear white porcelain of the Yung-cheng period (1723-1735). Spravs of peony and 
branches of prunus blossoms in red, green, yellow, and other enamels. 



Diameter, 8ji inches. 



313 — Bowl. 

Of the early K'ang-hsi period (1662-1722). Invested within and without in a 
monochrome glaze of apple green, of uniform tint and iridescent quality. 
Carved teakwood stand. 

Diameter, 7 inches. 

314— Rose Souffle Vase. 

Oviform, with slender, tubular neck and flaring base. Clear white porcelain of the 
Yung-cheng period (1723-1735), which is invested with a rose-colored glaze 
of even quality and orange-peel surface. 

Height, 11 inches. 

315 — Globular Jar, 

Clear white porcelain of the K'ang-hsi period (1662— 1722). Enamelled with a pel- 
lucid monochrome glaze of pale sky-blue tint known as ''moonlight white," or 
clair-de-lune, glaze. Six-character mark pencilled in under-glaze blue. 

Height, 3 inches. 

316 — Sung Coupe. 

Of soft texture. Invested with a mottled red and purple glaze of finished technique. 
From "Collection Marquis," Paris. 

Diameter, 3 inches. 

317 — Writer's Water Jar. 

Invested with a peach-bloom glaze of varied tint and fine qualitv. Three disks of 
incised floral motive beautifully drawn in the paste. The mark pencilled un- 
derneath, in under-glaze blue, is K'ang-hsi nien chih. 

Diameter, 5 inches. 

318 — Peach-bloom Rouge Box. 

In varied peach tint, flecked with spots of verdigris green. On the foot six-character 
mark of K'ang-hsi, 1662-1722. Carved teakwood stand. 



319 — Writer *s Water Dish. 

Of the K'ang-hsi period (1662-1722), enamelled with the peach-bloom glaze of 
"crushed strawberry" tint, and mottled with clouds of apple green. Sj x - 
character mark written underneath in cobalt blue. 

Diameter, 4^ inches. 

320 — Peach-bloom Amphora. 

Invested within and without in a glaze to imitate the ripening peach. It i s Q f p er f ect 
technique, and the foot, which is enamelled in pure white underneath, is inscribed 
"Ta Ch'ing K'ang-hsi nien chih (1662-1 722), of the great Ch'ing [Dynasty]." 

Height, 6 inches. 



321 — Oviform Jar. 

Thick porcelain of the early Ming period. Decoration of various disk-shaped panels, 
diapers, and arabesques in coral red; sceptrc-head and scroll borders and bands 
in green. Seal mark pencilled in cobalt blue. 

Height, S inches. 



322 — Hexagonal Bowl. 

Pure white porcelain of the Yung-cheng period (1723-1735). Decoration in rose 
color of the peach and bat symbols, symbolical of long life and happiness. Seal 
mark pencilled in cobalt blue. Fine carved teakwood stand. 

Height, 9 inches. 

323 — Imperial Yellow Bottle-shaped Vase. 

Thin texture of the Ch'icn-lung period (1 736-1 795). Invested with a monochrome 
glaze of imperial yellow, and decorated with conventional scrolls of peonies, 
etched in the paste and enamelled in green, blue, and purple. 

Height, 12 inches. 

324 — Cylindrical Vase. 

White porcelain of the K'ang-hsi period (1662-1722). The decoration is etched in 
the paste, and is enamelled in under-glaze blue, maroon, and celadon, all colors 
of the grand feu y and consists of pine tree, figures of pilgrims, rocks, and sym- 
bols. Ring and leaf mark underneath foot. 

Height, 16 inches. 



325 — « Thousand Flowers" Vase. 

Graceful bottle shaped. Fine texture of the Chia-ch'ing period (1 796-1 820). 
Choice example of one of the most interesting and elaborate decorations known 
in Chinese porcelains. The whole surface is covered with a mass of flowers in 
the richest transparent and opaque enamels. Seal mark pencilled in coral red. 

Height, \2}i inches. 

32G — Unique Bottle-shaped Vase. 

Thick texture of the Yung-cheng period (1723-1735). Covered with white glaze, 
and has a decoration of a dragon chasing the pearl of omnipotence, carved in 
high relief, and enamelled in coral red and gilding. Carved teakwood stand. 

Height, 13% inches. 

327 — Decorated Orange-yellow Vase. 

Globular bottle form, with tall tubular neck. The decoration, which consists of 
prunus blossoms, chrysanthemums, and bamboo, is carved in low relief, and 
enamelled in green, white, purple, and cobalt blue. Invested throughout in a 
monochrome glaze of orange yellow. Ch'icn-lung period, 1 73^ — 1 795- Teak- 
wood stand. 

Height, 16 inches. 



328 — White Porcelain Vase. 

Club shaped in miniature form. Clear white texture of the K'ang-hsi period (1662- 
1722). The mark underneath, six characters arranged in three columns is 
beautifully written in under-glaze cobalt blue. Teakwood stand. 

Height. sj£ inches. 

329 — Bottle-shaped Vase. 

Of fine form and ivory-white texture. Ribbed body and neck, and foliated band 
round foot. Incised seal mark of Ch'ien-lung, 1 736-1 795. Finely carved 



teakwood stand. 



"eight. i% inches. 



330 — Fire Bowl. 

Pure white porcelain. Conventional lion-head ornaments. Teakwood cover and 
stand. 

Diameter, $!4 inches. 

331 — Globular Jar. 

Semi-eggshell texture of the Fen-Ting "soft paste" type. The decoration consists 
of imperial dragon, fire emblems, and sacred pearl etched in the paste underneath 
the glaze of ivory white. Yung-cheng, 1 723-1 735. Carved teakwood stand. 

Diameter, 4J4 inches. 

332 — Bottle-shaped Vase. 

Exquisite form and texture. Fin-Ting "soft paste" type. Band of Grecian pattern 
etched in the paste, underneath a glaze of ivory white with pronounced crackle 
Handles on the neck, of dragon-head and ring design. Rim at foot without 
glaze, and exhibits softness of texture. Teakwood stand. 

Height, 13 inches. 

333 — Soft Paste V ase. 

Tall cylindrical shape, with dragon-head and ring handles. Etched band of Grecian 
pattern underneath a glaze of ivory white, which is minutely crackled through- 
out. Teakwood stand. 

Height, 14 inches. 

334 — Bottle-shaped Vase. 

Ovoid body with tall tubular neck and a bulbous lotus-bud mouth. Ivory-white 
texture. Incised seal mark. 

Height. 13^ inches. 

335 _ White Porcelain Vase. 

Ivory-white texture. Neck encircled by a band of Grecian design, etched i n the 
paste underneath the glaze. Ch'ien-lung, 1736-1795. Fine teakwood stand. 

Height, 14 inches. 



33G — Large Beaker-shaped Vase. 

White sonorous porcelain of ivory-white type. The decoration, which is etched in 
the paste, consists of broad bands of palm leafs and floral spravs invested with 
a pellucid glaze. Incised seal mark underneath the foot. 

Height, inches. 

337 — Bottle-shaped Vase. 

Of Fen-Ting "soft paste" type. The body of the vase is covered with a floral 
design representing conventional peonies in the midst of leafy scrolls, delicately 
etched in the paste under a pellucid white glaze. Ornamental palmations en- 
circle the neck and the lower border of the body. Yung-cheng, 1723—1735. 

Height, l(>% inches. 

338 — Two Miniature Covered Jars. 

Hard paste porcelain of the Ch'ien-lung period (1 736-1 795). Panel decoration of 
"Long Eliza's" and flowering plants in under-glaze cobalt blue. 

339 — Small Oviform Vase. 

Pure white hard paste porcelain. Decoration of floral and leaf scrolls delicately pen- 
cilled in under-glaze blue of pale tint. Four-character mark of Ch'eng-hua, 
1465-1487. 

Height, 5 inches. 

340 — Semi-eggshell Tea Cup. 

Pure white porcelain of the Ch'ien-lung period (1736— 1795). Decoration of the 
flowering lotus and a crane in brilliant under-glaze blue. Seal mark. 

341 — Helmet-shaped Pitcher. 

Old bleu-de-Nankin. Decoration of landscape and water view in brilliant cobalt 
blue, with ornamental gilding. 



342 — Fire Bowl. 

Hard paste porcelain of the K'ang-hsi period (1662-1722). Decoration of flower- 
ing plants, butterflies, and leaf-pattern border in cobalt blue. Teakwood open- 
work cover. 

Diameter, 4^ inches. 

343 — Wine Ewer. 

Persian form. Two-panel decoration in which are figure of fisherman, two deer, 
rocks, and grasses painted in deep blue. Invested with a brilliant powder-blue 
glaze. 



344 — Covered Cup with Saucer. 

Fine hard paste porcelain of the K'ang-hsi period (1662-1722). Panel decoration 
of floral sprays in outline on a dark blue ground. Mark underneath foot, leaf 
symbol within circle. 

345 _ Tea Cup. 

Pure white porcelain of semi-eggshell texture. Flowering lotus pencilled in brilliant 
undcr-glaze blue. Seal mark of Ch'ien-lung period, 1736—1795. 

34G — Three Blue and White Saucers. 

Pure white hard paste. Decoration of flowering plants in brilliant cobalt blue. 
Yung-cheng and Ch'ien-lung periods. 

347 — Oviform Jar. 

Pure white hard paste porcelain of the Yung-cheng period (1723— 1735). Decora- 
tion of plum, pine, and bamboo, delicately pencilled in under-glaze blue 
Sceptre-head borders. Teakwood stand. 

Height, 4% inches. 

348 — Wine Ewer. 

Hard paste porcelain of the K'ang-hsi period (1662-1722). Coated with a mottled 
glaze of rich mazarin blue of fine quality. Decorated over the glaze with floral 
sprays painted in gold. 

Height, 8 inches. 

349 _ T e a Caddy. 

Dense porcelain. Decoration of sprays of prunus blossoms pencilled in under-glaze 
blue in two white leaf-shaped panels. Lotus flowers and leaf scrolls outlined on 
a ground to represent cracking ice. 

Height, 6% inches. 

350 — Soft Paste Galipot. 

Of graceful form and finished technique. Brown crackle texture of Fin-Ting type 
of light weight; clusters of peach and pomegranate fruit artistically pencilled in 
fine blue under the glaze. A band of floral scrolls and butterflies is round the 
shoulder, and a ring of palmations encircles the base. 

Height, t]4 inches. 

351 — Oviform Jar. 

White hard paste of the Chia-ch'ing period (1 796-1820). Finely decorated, i n 
brilliant opaque blue, with lotus plants, carp, and symbols. Six-character mark 
within double circle, pencilled in deep cobalt blue. 

Height, 5 inches. 



352 — Blue and White Brocaded Vase. 



Persian form, with bulging body and slender, tapering neck. Decorated in fine 
cobalt blue of pure tint, with floral ground and foliated panels of floral brocade. 
The texture is Fen-Ting "soft paste" type of fine quality. The mark inscribed 
underneath is a leaf, outlined in blue, A common sign of the K'ang-hsi period, 
1662-1722. Silver cap. 

Height, 7 inches. 

353 — Wine Ewer. 

White hard paste of the early K'ang-hsi period (1662-1722). Panel decoration of 
foliated outline on a brilliant opaque blue ground, the body covered with aground 
to imitate the cracking of ice. 

Height, 7j£ inches. 

354 — Ginger Jar with Orig'mal Cover. 

Hard paste. Decoration of lotus, prunus blossoms, and peonies pencilled in brilliant 
under-glaze blue, within circular shaped panels. Clusters of blossoms and fruits 
round shoulder; and base encircled by a band of corrugated design carved in the 
paste. Six-character mark, Cheng-hua, 1465-1487. 

Height, 'i inches. 

355 — Ginger Jar with Original Cover. 

Companion to the preceding. 

Height, 9 inches. 

35G — Beaker-shaped Vase. 

Soft paste texture. Hsuan-te period (1426-1435). Landscape, pagodas, river view, 
and mountain scenery pencilled in deep cobalt blue under an ivory-white glaze. 

Height, I2j£ inches. 

357 — Hawthorn Ginger Jar with Porcelain Cover. 

Ground of opaque blue, with markings to represent cracking ice; branches of prunus 
blossoms in white reserve. K'ang-hsi period, 1662— 1722. 

Height, inches. 

358 — Hawthorn Ginger Jar. 

Clear white hard paste of the K'ang-hsi period (1662-1722). Branches of prunus 
blossoms in white reserve, on a ground of fine opaque blue marked to represent 
cracking ice. Teakwood cover. 

Height, S}i inches. 

359 — Blue and White Vase. 

Globular body, with tall cylindrical neck spreading at mouth. Pure white porcelain 
of the K'ang-hsi period (1662-1722). Numerous panels of various shapes, which 
are filled with figures, garden scenes, landscapes, and flowering plants, beauti- 
fully pencilled in brilliant under-glazc blue of pure tint, encircled by bands of 
floral sprays. The mark underneath is a leaf within a circle pencilled in blue. 

Height, 17 inches. 



360- — Hawthorn Beaker-shaped Vase. 

Clear white hard paste of the K'ang-hsi period (1662-1722). Decoration of 

branches of prunus blossoms, the floral emblem of the New Year, in reserve 

upon a mottled background of opaque blue, which is covered with a reticulation 

of darker blue lines to represent cracking ice, a symbol of the coming sprine 

Mark underneath, double circle pencilled in cobalt blue. « • u 

1 Height. 18 inches. 

3G1 — Hawthorn Temple Jar with Original Hat-shaped Cover. 

Decorated with cobalt blue of the K'ang-hsi period (1662-1722), with blossomine 
branches and twigs of the mei flower, the branches alternately upward and 
downward, so as to display their white blossoms and buds reserved upon a mot- 
tled background of blue, which is covered with a reticulation of dark blue lines 
to represent cracking ice. Mark underneath foot, double circle pencilled in blue 

Height, IS inches. 

3C2 — Hawthorn Temple Jar with Original Hat-shaped Cover. 

Companion to the preceding. Heigh( l(j 

363 — Large Pilgrim Bottle. 

Literally, full-moon vase, of graceful form and technique. The body of the vase is 
covered with a floral design representing conventional peonies in the midst of 
leafy scrolls, beautifully pencilled in under-glaze blue of pure tint. Ornamental 
palmation and sceptre-head scrolls encircle the neck and lower border of the 
body. On the neck are two rudimentary dragon handles. Ch'ien-lung period 
1 736-1 795. Teakwood finish. 

— — Height, 19 inches. 

364 — Cloisonne Enamel Vase. 

Ovoid bottle shaped, with tall slender neck. Conventionalized flowers, arabesque 
and palmations in dark tones of blue, red, white, and jade green, on turquoise- 
blue and yellow ground. Coral incrustation and carved jade stopper. Ch'ien- 
lung, 1736— 1 795. Teakwood stand. 

Height, 9 inches. 

365 — Cloisonne Enamel Plate. 

Old Japanese shippo. Floral and leaf scrolls, and medallion patterns in low tones on 
dark green ground. 

Diameter, 12 inches. 

366 — Large Cloisonne Cake Box. 

Outside and inside of dark blue and turquoise ground, with birds, cloud forms, crests 
and various symbols in brilliant enamels. Ch'ien-lung, 1736-1795. 

367 - Tea Service with Tray. Diameter ' 12 inches - 

Old Pekin enamel. Fashioned after the Chinese peach. 

t 6 pieces. 

368— Ewer and Basin. 

Fine specimens of old Pekin enamel. Decoration of flowers, fruits, and leaf scrolls 
in delicate colors on a white enamelled ground. 



yapanese Lacquers 



369 — Sake Cup. 

Cherry blossoms floating on stream, delicately painted in soft, shaded gold lacquer on 
a dull powdcrcd-gold ground. Seventeenth century. 

Diameter, 33^ inches. 

§10— Sake Cup. 

A view of Susaki, bay of Tokio, exquisitely painted in centre, in finely powdered gold 
and red lacquers. The back is finished in red lacquer. Inscribed "Tokio, 
Susaki." Nineteenth century. 

Diameter, 4% inches. 

Til — Sake Cup. 

Silver lacquer in low-tone finish. Decoration of " Nara dolls " and cherry blossoms, 
most delicately and artistically painted in various tones of gold and red lacquer. 
Eighteenth century. 

Diameter, 3% inches. 

372 — Hexagonal Box. 

With small opening on top. Landscape and group of cranes minutely and artistically 
painted in powdered and polished gold lacquer over a beautiful black lacquer 
ground; partial embellishment in leaf-gold squares, in mosaic style. Inside fin- 
ished in red-gold nashiji. Seventeenth century. 

Height, 2"<j inches. 

373 — Octagonal Box. 

With lead rim. Gold nashiji lacquer of yellow tone. Cover in design of folded 
brocade, and decoration of chrysanthemum in raised gold lacquer. Sixteenth 
century. 

Height, 1% inches. 

374 — Minute Perfume Box. 

Low oblong form. Gold lacquer. Basket with sprays of chrysanthemum and peony 
exquisitely and delicately painted on top of the cover in low-tone and pow- 
dered gold lacquers. Interior finished in nashiji. Seventeenth century. 

Height, X inch. 



375 — Round Box. 

Finely powdered gold lacquer. Top of cover is decorated with design of cards, 
on which are figures and other patterns exquisitely painted in gold and colored 
lacquers. Interior of yellow nashiji. Seventeenth century. 

Diameter, 3 inches. 

37G — Tea Caddy. 

Powdered gold lacquer. Profusion of kiri flowers decorated over its entire surface 
in dull gold lacquer and in mother-of-pearl inlay. Seventeenth century. 

Height, 3 inches ; diameter, 3 inches. 

377— Wine Cup. 

Carved bamboo. Sprays of wistaria flowers and feathers painted in raised gold lacquer 
of various tones. Interior is covered with a beautiful yellow-gold lacquer. 
Signed on the base, in black, Kichosai. Eighteenth century. 

Height, 2# inches. 

378— TV* Caddy. 

Ivory, with gold lacquer decoration of various shaped fans, and scenes illustrating 
Japanese industrial and domestic life, and flowers and plants, most minutely 
drawn in raised gold and colored lacquers. Eighteenth century. 

Height, ■$% inches ; diameter, 2# inches. 

379 — Miniature Cabinet. 

Of artistic workmanship. The decoration consists of wave design accurately treated 
with mother-of-pearl incrustation, and herons, figures, cottages, and chrysan- 
themums in ivory and coral inlays. Panel decoration, symbolical of the four 
seasons, is artistically treated in mother-of-pearl, ivory, and raised gold lacquers 
of various tones. The back of the door is embellished with plum tree and 
bird in mother-of-pearl and coral inlay over a ground of gold mosaic finish, and 
three drawers are beautifully decorated with wave designs in powdered gold. 
Handles and mountings of silver, etched and chased. Seventeenth century. 

Height. 2>£ inches. 

380 — Inro. 

Four sections. Black lacquer. Decorations of dog-foo in gold in bold relief on the 
obverse, and in silver incrustation on the reverse. Interior is of reddish-gold 
nashiji of fine quality. The gold lacquer decoration is by Kaji-Kawa, and that in 
silver by Soyo. Signed Yokoya Soyo Saku. The netsuke is in design of a 
dog-foo and waterfall, carved in bold relief. Slide in shape of a lotus pod 
with a crab on it. Seventeenth century. 



381 — Inro. 

Ivory. Carved design of tigers and dragon in bamboo grove. Interior of black 
lacquer. Netsuke of ivory in form of bamboo. Shakudo slide. Seventeenth 
century. 



382 — Inro. 



Four sections. Polished go(d laquer. Decoration of three standing cranes and a pair 
of sacred tortoises in raised gold lacquer, which is partly overlaid with leaf gold. 
In reserve space are pine, bamboo, and plum branches in profusion, exquisitely 
treated in polished gold over a brilliant black ground. The interior is of red- 
gold lacquer of fine quality. Signed Kaji-Kawa. Seventeenth century. Carved 
ivory netsuke in design of Rakan and an imp. Iron slide with gold, silver, 
and bronze inlay. 

383 — Inro. 

Cylindrical shape, in five sections. Vermilion-red lacquer. Decoration of dog-foo 
and dragon in raised gold. Ivory netsuke in shape of leaf, and two slides of 
carved stone and bronze. Antique brocade bag with a carved wood mask 
netsuke by Mashiro. Seventeenth century. 

384— Inro. 

Four sections. Black lacquer. Decoration of sacred elephant and a figure in raised 
gold lacquer and mother-of-pearl inlay. Carved ivory netsuke, incrusted with 
three figures made of gold, shibuichi, and shakudo, artistically carved and chased. 
Signed Kimura Zikkioku. Seventeenth century. 

385 — Inro. 

Five sections. Powdered gold lacquer Decoration of plants, executed in raised gold 
lacquer and incrusted with coral and malachite. Interior of red-gold nashiji 
of high grade. Eighteenth century. 

386— Inro. 

Three sections. Carved ivory. Decoration of armor, musical instruments, dolls, 
flowers, and tangaku papers, in various shaped panels, in raised and powdered 
gold lacquers; the reserved space, of carved basket-work pattern. By Kwanyosai. 
Antique wood netsuke, figure of "no" dancer, by Masakazu. Ivory slide in 
design of god of the wind. Eighteenth century. 

387 — Inro. 

Two sections. Black lacquer. Decoration of lilies in cinnabar lacquer and mother- 
of-pearl incrustation. Netsuke of cinnabar, with decoration of heads of an- 
cient Chinese dignitaries in lacquer, mother-of-pearl, and ivory incrustation. 
Cinnabar slide with carved Chinese figures and landscapes. Seventeenth century. 

388 — Inro. 

Three sections. Powdered gold lacquer of low tone. Decoration of Chinese sym- 
bol "Ziu" (longevity), painted in vermilion lacquer and outlined with gold, 
the reserved space, filled with pine, plum and bamboo leaves, partly inlaid with 
mother-of-pearl and overlaid with leaf-gold. Gold nashiji lacquer finish inside. 
Seventeenth century. 



389 — Inro. 

Five sections. Powdered gold lacquer. Decoration of dragon and storm clouds 
spiritedly drawn in India ink over finely powdered gold lacquer, and interior of 
gold nashiji. By Tokasai. Netsuke in shape of tea caddy, decorated with chrys- 
anthemums in raised gold. Ivory slide minutely carved with profusion of 
chrysanthemums and peony flower in openwork. Eighteenth century. 

390 — Inro. 

Three sections. Green lacquer in imitation of ancient Chinese bronze. Decoration 
of facsimiles of ancient copper coins of China in raised lacquer. A large 
ivory netsuke, with medallion in centre, of bronze, on which is carved the head 
of a woman, and incrusted with bronze and silver. By Nawohiro. Early eigh- 
teenth century. 

391 — Inro. 

Three sections. Black lacquer. Decoration of screens with fan designs, storks, 
pines, and the seven wise men of bamboo grove, painted with precision in 
various tones of gold lacquer. Gold nashiji lacquer of unusually fine grade 
covers interior. Seventeenth century. 

392 — Inro. 

Five sections. Powdered gold lacquer. Medallions of chrysanthemums painted over 
entire surface in powdered and raised gold lacquer, and Giobu nashiji of small 
grains covering interior. By Kaji-Kawa. Gold lacquer netsuke in shape of a 
flat box in powdered gold lacquer of red, green, and yellow tints by Taishin. 
Seventeenth century. 

393 — Inro. 

Three sections. Of gold hirame finish, filled in with pieces of cut leaf gold. A 
pair of peacocks, elaborately executed with artistic skill, in raised and powdered 
gold lacquer, slightly inlaid with mother-of-pearl; the interior of finely powdered 
gold lacquer of low tone. By Koma Kiuhaku. Ivory netsuke, carved by Ma- 
sumoto. Silver slide with flower decoration. Early eighteenth century. 

394 — Inro. 

Five sections. Gold lacquer. Chrysanthemums in various stages painted in powdered 
gold lacquer on slight nashiji lacquer ground, and interior of gold nashiji, of 
high grade. Carved ivory netsuke, design of maple leaves. Seventeenth century. 

395 — Inro. 

Ivory. Three sections. Decoration of peaches on both sides, carved in bold relief, 
the reserved space in wave and dragon design ; interior covered with gold lacquer. 
Carved wood netsuke in design of a coiled dragon, and an ivory slide incrusted 
with mother-of-pearl. Early eighteenth century. 



390 — Inro. 

With a small tray inside. Powdered gold lacquer. Decoration of the seven wise 
men of bamboo grove in lead, mother-of-pearl, and gold inlay. A fine example 
bv Korin. Seventeenth century. Has silver slide of dragon and cloud design. 

397 — Inro. 

Five sections. Powdered gold lacquer. Interior of Chinese palace, flower garden, 
and surrounding views skilfully pencilled in powdered and raised gold ; figures 
of Chinese lady and attendant wrought in gold, silver, and shibuichi. By Kaji- 
Kawa. Metai figures by Toshinaga. Seventeenth century. Gold netsuke with 
two kin crests, and a silver slide design of floral medallions. 

398 — Inro. 

Five sections. Gold lacquer. Decoration of bamboo grove and rivulet, in raised 
gold, and polished. The cloud effect and banks of river are finished in gold 
mosaic style, being filled in with small squares of cut leaf gold ; interior of gold 
nashiji lacquer of high grade. Cinnabar netsuke, with figures and landscapes 
delicately carved. Seventeenth century. 

399 Parking Brush with Cap. 

Chinese cinnabar lacquer. Figures, landscape, and houses skilfully carved. Early 
seventeenth century. 

400 — Rouge Box. 

Chinese cinnabar lacquer. Interior view of Chinese house and figures, exquisitely 

carved. The sides are in key pattern. . 

1 Diameter, 2% inches. 

401 — Miniature Table. 

With two sets of small boxes, each in three sections. Landscape, houses, water- 
fall, and rivers skilfully and minutely pencilled in exceedingly fine powdered 
gold lacquer and highly polished. The mountains, cloud effects, and river 
banks are filled in with small gold squares; the blossoms and pine-needles are in 
raised gold lacquer, painted with utmost precision. The two smaller boxes are 
decorated with diaper patterns over their entire surface, and finished in high 
polish. Interior of gold nashiji of high grade. Seventeenth century. 

Height, 2^ inches: width, 4^ inches. 

402 — Unique Perfume Box. 

Three smaller boxes inside of upper compartment, and tray in the lower compart- 
ment. Decorated on top of the cover with head of dog-foo in a spirited 
manner, and painted in finely powdered gold lacquer in relief; the eyes and 
part of teeth incrusted with ivory and mother-of-pearl ; on the sides and covers 
of the three smaller boxes are peony flowers in powdered gold lacquer of various 
tints. In the centre of small tray are figures of three dog-foos. Gold nashiji 
lacquer of verv high grade covers the interior. Seventeenth century. 

Height, 3 inches ; width. 4 inches. 



403 — Box. 

In two sections and with overlapping cover. Landscape in exquisite gold lacquer 
painting, and finished in powdered gold. Interior of gold nashiji lacquer of 
vellow tone. About 1750. 

Height. 3^ inches; diameter, 4 inches. 

404 — Fan-shaped Box. 

Powdered gold lacquer. View of Mount Fuji and a dragon in gold. Interior of gold 
nashiji lacquer. About 1800. 

Height, 2 inches ; diameter, 5 inches. 

405 — Box. 

With five rounded corners. Powdered gold lacquer. Decoration of peacocks and 
palm-leaves, skilfully painted. Interior and back finished in clouded gold 
nashiji lacquer. 

Height, 2% inches; diameter, \% inches. 

406 — Incense Box. 

With nine smaller boxes inside. Gold and black lacquer. Decoration of crests and 
conventional diaper designs on top and on sides in gold. Interior of each box 
finished in muranashiji of high grade. About 1650. 

Height, \\( inches; diameter, $j4 inches. 

407 — Perfume Box and J ray. 

Powdered gold lacquer of unusually fine quality. On the cover and round the box 
are designs of ancient Japanese illustrated books of poems and fiction, which 
are most faithfully reproduced in gold lacquer painting in various treatment, 
such as togidashi (polished), kin-fun (powdered gold lacquer), takamakie (raised 
gold lacquer), and kiri-kane (cut gold-leaf lacquer). The tray has gold lacquer 
painting of wild chrysanthemums and a river scene most exquisitely executed in 
polished and raised gold lacquer, the border in small diaper pattern. The interior 
and round the inside border are filled in with cut gold-leaf lacquer in mosaic 
style. The edges are mounted with silver. Early seventeenth century. 

Height, 2}( inches; diameter, (> inches. 

408 — Perfume Box. 

In two sections, and with two smaller boxes inside. Gold nashiji lacquer of a red 
tone and of a high grade. Decorations on top and sides are of plum trees in 
blossom, pine and bamboo leaves, exquisitely executed in powdered and raised 
gold lacquer. Back of the cover is similarly decorated with pine and plum 
blossoms on a nashiji background. Interior of beautiful gold nashiji. Sixteenth 
century. 

Height, 3 inches ; diameter, 4X*3>£ inches. 

409 — Fan-shaped Tray. 

Raised and powdered gold lacquer. Decoration of landscape and garden views, 
minutely executed in gold. Parts of rocks, mountain tops, river banks, and 
cloud designs are finished in gold lacquer mosaics. Seventeenth century. 

Diameter, u# inches. 



410 — Perfume Box. 

With tray and four smaller boxes inside. Powdered gold lacquer outside, and 
muranashiji or clouded gold nashiji lacquer inside. Decoration on top of box in 
imitation of checker-board, and on sides diaper pattern in raised gold lacquer. 
Covers of the four smaller boxes are decorated with medallions of storks, 
tortoises, pine trees, and bamboos, in powdered and raised gold. The tray has 
a spray of tsubaki flower beautifully pencilled in gold lacquer. Seventeenth 
century. 

Height, 3 inches : diameter, 4^ inches. 

411 — Perfume Box. 

Lozenge shape. In two sections, with tray inside. Landscapes, wild flowers, and 
waves elaborately executed in powdered and raised gold lacquer over a nashiji 
ground. Tray, decorated with landscape and houses in powdered and raised 
gold lacquer, and partially finished in gold lacquer mosaics. Interior of gold 
nashiji. Seventeenth century. 

Height, 4 inches. 

412 — Box and Tray. 

Powdered gold lacquer. Decoration of fan-shaped medallions and other embellish- 
ment, painted in raised and powdered gold lacquers; the edges and corners 
decorated with Chinese grass pattern in gold. Early eighteenth century. 

Height, 4jt inches ; diameter, 7 % % 4^ inches. 

413 — Manuscript Box. 

Gold and black lacquer with slight touches of gold nashiji. Landscape on top 
and profusion of maple leaves on back of the cover, skilfully painted in 
gold lacquer, with slight shading; the edges and corners minutclv painted with 
Chinese grass pattern in powdered-gold lacquer. Seventeenth century. 

Height, 5jf inches ; length, 16 inches. 

414 — Writing Case. 

Gold and black lacquer. Decoration of landscape in gold. On the back of cover, 
beautifully executed in raised gold, is a trunk of a cherry tree and blossoms; a 
silver moon is appearing behind a cherry branch. The interior is of muranashiji 
of fine quality. Seventeenth century. 

Length, 9 inches. 

415 — B/ack Lacquer Box. 

With overlapping cover. Decoration of bamboo leaves and sparrow in lead and 
mother-of-pearl inlay and lacquered in gold. Early eighteenth century. 

Diameter, 7 inches. 

416 — Round Tray. 

Powdered gold lacquer. Decoration of vase with flowers, a lobster, and a cup in 
mother-of-pearl, ivory, and jade incrustation; the border ornamented with 
scrolls, treasure-bag, precious objects, and vines in raised gold lacquer. Signed 
" Ko-gioku." Nineteenth century. 

Diameter, 1 1 inches. 



THIRD AFTERNOON'S SALE 



Tuesday, January 27th, 1903 



BEGINNING PROMPTLY AT 3 O'CLOCK 



Tea yars and Bowls 



417 — Two Tea Jars. 

One, old Taicatori; brown and black over gray glaze; thread mark at the base. 
1700. The other, old Seto, in metallic souffle glaze, intermixed with mustard 
yellow over hard reddish clay; thread mark at the base. About 1650. 

41 8 — Two Tea Jars. 

One, old Seto, in brown metallic souffle, with drops of tortoise-shell glaze. About 
1600. The other, old Takatori, with brilliant black glaze, shading toward 
clouded brown; thread mark at the base. About 1700. 

419 — Two Tea Jars. 

One, old Seto; brilliant black glaze thickly coated over a reddish hard clay. About 
1600. The other, old Seto, with reddish-brown glaze and slight streak of black. 
About 1700. 

420 — Two Tea Jars. 

One, old Seto; clouded brown metallic glaze. About 1700. The other, old Higo, 
covered with yellowish-brown glaze; thread mark at the base. About 1750. 



421 — Two Tea Jars. 

One, old Seto ; clouded brown glaze, with splashes of pale gray over yellow ground ; 
has thread mark at the base. About 1700. The other, Tokio stoneware, in 
greenish blue, with drops of gray and brown round the shoulder; impressed mark 
of Riosai at the base. About 1870. 

422 — Two Tea Jars. 

One, old Takatori ; metallic brown glaze, with drops of yellow and black toward 
neck; thread mark at the base. About 1800. The other, old Satsuma, with 
brilliant dark brown glaze, slightly mixed with drops of blue round the shoulder 
and handles; fine thread marks at base. About 1750. 

423 — Two Tea Jars. 

One, old Higo; dark greenish brown, shading into pale gray; thread mark at the base. 
About 1 800. The other, old Tamba, with dark brown glaze, clouded and 
mixed with drops of yellow glaze. About 1 750. 

424 — Two Tea Jars. 

One, old Seto, in rich black, with slight touches of yellow around the shoulder, 
covering gray hard clay; thread mark at the base. About 1750. The other, 
old Takatori, covered with a rich tortoise-shell glaze, mixed with greenish 
brown and yellow toward base; thread and scratched marks at the base. 
About 1700. 

425 — Two Tea Jars. 

One, old Seto, with rich brown and yellow, shading into bufF-colored glaze, on gray 
hard clay. About 1650. The other, old Takatori, with small handles on sides ; 
metallic souffle glaze, with drops of rich brown and yellow glaze. About 1830. 

42G - Two Tea Jars. 

One, old Shino, covered with thick white and green glaze, running toward the base. 
About 1800. The other, old Kishiu, covered with rich purple and green glaze 
over a decoration of leaves carved and moulded in the clay. About 1800. 



427 — Two Tea Jars. 

One, old Takatori ; reddish-brown and yellow glaze with drops of brown, the iower 
part left unglazed, and showing thread mark. About 1800. The other, old Seto, 
with brilliant brown glaze on one side, and yellow and brown on the other, thickly 
coated over a body of line red clay; thread marks at the base. About 1800. 



428 — Two Tea Jars. 

One, old Satsuma, covered with brown and green glaze, with touches of gray round 
the base. About 1800. The other, old Seto, metallic souffle glaze. About 
1650, 

429 — Two Tea Jars. 

One, old Seto, with glaze of tortoise-shell effect running over metallic brown glaze. 
About 1600. The other, old Satsuma, covered with tea-leaf glaze of fine texture 
over body of fine red clay; thread lines at the base. About 1750. 

430 — Two Tea Jars. 

One, old Satsuma, covered with a thick glaze of black, white, and green. About 
1750. The other, old Seto, in reddish-brown glaze, over reddish-gray hard 
clay. About 1700. 

Height, 2}4 inches. 

431 — Two Tea Jars. 

One, Seto, covered with tortoise-shell glaze, intermixed with metallic black on gray 
hard clay. About 1820. The other, Seto, covered with iron-rust souffle 
over body of red clay; thread-line marks at the base. About 1800. 

432 — Two Tea Jars. 

One, old Takatori, with metallic souffle glaze, with drops of brown and yellow. 
About 1800. The other, old Idzumo, covered with a beautiful glaze of yellow, 
with streaks of red slightly running down on one side and a decoration of small 
flowers and circles round shoulder; impressed mark of S6-zi at base. About 
1800. 

433 — Two Tea Jars. 

Old Seto, metallic hrown, mixed with black and red glaze. About 1800. 

434 — Two Tea Jars. 

One, old Takatori; low shape, covered with a brilliant glaze of black and red; 
thread-line marks at base. About 1700. The other, old Seto, covered with 
a rich brown and red glaze; thread lines and scratched marks at base. About 
1750. 

435 — Two Tea Jars. 

One, Satsuma, covered with a metallic glaze of red, mixed with large drops of brown 
and blue. About 1820. The other, old Seto, with metallic glaze of brown 
and red, with drops of black; thread-line marks at base. About 1650. 



436 — Two Tea Jars. 

One, old Tamba; melon shape, covered with a rich, deep brown glaze. About 
1800. The other, old Seto, yellowish brown, covered with irregular drops of 
thick black glaze. About 1700. 

437— Two Tea Jars. 

One, old Raku pottery, covered with rich green and red glaze, slightly mottled; 
mark Raku impressed at base. About 1 840. The other, old Seto, covered 
with a rich brown, red, and tea-leaf green glaze; thread-line marks at base. 
About 1800. 



438 — Two Tea Jars. 

One, old Takatori, covered with fine metallic brown glaze, mixed with drops of 
yellow and green glaze; fine thread-line marks at base. About 1800. The 
other, old Ohi, covered with iridescent glaze of brownish yellow ; fine red clay. 
About 1800. 

439 — Two Tea Jars. 

One, old Seto, covered with a thick white, brown, and yellow glaze. About 1700. 
The other, old Takatori, with narrowing base, covered with metallic souffle 
glaze of brown, yellow, and red shadings; thread-line marks at base. About 
1750. 

440 — Two Tea Jars. 

One, old Imbe, covered with rich, deep black glaze, running heavily at the lower 
part, slightly touched with small specks of white glaze; ornamented at side 
with two circles. About 1750. The other, old Tamba, with brilliant glaze 
of brown and black; thread-line marks. About 1 750. 

441 — Two Tea Jars. 

One, old Idzumo; yellow and brown glaze, with slight mottling; unglazed at the 
base; has thread-line marks. About 1800. The other, old Kioto, dull yellowish- 
white glaze with small specks; yellowish-red soft clay. About 1800. 

442 — Two Tea Jars. 

One, old Seto, with beautiful yellow and brown glaze on one side and metallic brown 
on the other, the lower part left unglazed; thread-line marks at base. About 
1650. The other, old Takatori, covered with unusually fine glaze of steel 
black, with touches of yellow, blue, and brown drops round shoulder; decoration 
of small line round the centre of body; thread lines at bottom. About 1700. 



443 — Two Tea Jars. 

One, old Tamba, with black glaze and streaks of brown thread lines at base. About 
1750. The other, old Seto, with metallic brown glaze, mixed with drops of 
rich brownish black; thread-line marks at base. About 1800. 

444 — Two Tea Jars. 

One, old Seto; metallic souffle of chocolate brown; lower part left unglazed. About 
1700. The other, old Seto, covered with black glaze and slight touches of 
brown and yellow of unusual brilliancy. About 1650. 

445 — Two Tea Jars. 

One, old Seto, covered with metallic brown glaze, clouded with dark brown streaks, 
on gray hard clay. About 1 700. The other, old Seto, straight form, covered 
with metallic black glaze intermixed with chocolate brown, the lower end left 
unglazed. About 1700. 

446 — Two Tea Jars. 

One, old Raku pottery, with brilliant black Raku glaze; mark Raku impressed at 
base. About 1 750. The other, old Shigaraki, covered with rich yellow and 
brown glaze on one side, and rough, opaque glaze of yellow brown on the 
other; thread-line marks at base. About 1800. 

447 — Two Tea Jars. 

One, old Satsuma; tall shape, covered with iron-rust souffle glaze of uncommonly fine 
texture; the lower part carved under glaze; inscription in red lacquer (illegible). 
About 1700. The other, old Iga, covered with yellow and brown, and deco- 
rated with three medallions in blue and white at shoulder. About 1750. 

448 — Three Tea Jars. 

One, old Satsuma, with metallic souffle glaze, mixed with drops of brown and gray 
on one side; thread-line marks at base. About 1800. Another, old Seto; three 
cars round shoulder; covered with metallic chocolate-brown glaze, with drops 
of yellow and green; marks of thread lines at base; about 1700. The other, 
old Raku pottery ; red and bluish-gray glaze, mottled ; mark of Kakihau incised 
at base. About 1800. 

449 — Three Tea Jars. 

One, old Tamba, with brilliant black glaze; marks of thread lines at base. About 
1800. Another, old Tamba, covered with greenish black, with white drops on 
one side. About 1800. The other, old Shigaraki, with depression on four 
sides; covered with a rich hlack thick glaze with vellow markings; thread lines 
at base. About 1800. 



450 — Three Tea Jars. 

One, old Seto, with metallic red and brown glaze. About 1800. Another, old 
Banko, with pale blue and white glaze; marks Banko, Fuyeki impressed at 
base, inside of flower-shaped panel. 1800. The other, old Seto, with thick 
black glaze, partly mixed with chocolate brown. About 1700. 



451 — Two Tea Jars. 

One, old Karatsu, with pale gray glaze, decorated with pine tree in white enamel 
under the glaze. About 1800. The other, old Idzumo, with dull yellow 
clouded glaze. About 1800. 



452 — Two Tea Jars. 

One, old Seto, covered with low-toned, reddish-brown glaze, running in thick layers 
toward base; marks of thread lines at base. About 1700. The other, old Taka- 
tori, covered with glaze of tortoise-shell effect; a line decoration round the 
body; marks of thread lines at base. About 1750. 



453 — Two Tea Jars. 

One, old Kutani porcelain, decorated with landscape and figures in blue, and inscrip- 
tion, "Listening to the sound of spring." About 1800. The other old 
Takatori, covered with fine red iron souffle glaze, partially mixed with rich 
black and brown glaze round the neck; marks of thread lines at base. About 
1800. 



454 — Two Tea Jars. 

One, old Iga, with yellow and brown glaze over gray sandy clay; marks of thread 
lines at base. About 1750. The other, old Seto; decorated with two shrimps 
in relief on side, and covered with pale white glaze. About 1800. 



455 Two Tea Jars. 

One, old Takatori, covered with brilliant black glaze, with yellow and brown spots; 
marks of thread lines at base. About 1750. The other, old Seto, decorated 
with lines, and covered with metallic brown glaze, mixed with drops of yellow 
and brown; marks of thread lines at base. About 1750. 



456 — Two Tea Jars. 

One, old Mino, covered with metallic black glaze, mixed with drops of brilliant black 
and bluish white at shoulder; fine red clay; mark Senda impressed. About 
1800. The other, old Seto, covered with brilliant metallic black and brown 
glaze; marks of thread lines at base. About 1750. 



457 — Two Tea Jars. 

One, old Awata, with original cover, decorated with maple leaves in blue and brown 
over finely crackled body; mark Taizan impressed at base. About 1820. The 
other, old Oribe porcelain, flat shape; greenish-yellow glaze, decorated with 
leaves in brown. About 1800. 



458 — Two Tea Jars. 

One, old Satsuma, covered with a rich green glaze, with brown near the lower part. 
About 1700. The other, old Seto, covered with rich, deep yellowish-brown 
glaze on one side, and chocolate brown on the other. About 1700. 



459 - — Two Tea Jars. 

One, old Tamba, covered with bluish-black glaze; thread lines at base. About 1800. 
The other, old Seto; gourd shape, covered with metallic chocolate-brown glaze; 
thread lines at base. About 1 800. 



460 — Two Tea Jars. 

One, old Yatsushiro, with mishima decoration in white under gray glaze; red hard clay. 
About 1800. The other, old Karatsu, covered with thick tea-leaf glaze. About 
1800. 

4G1 — Tea Bowl. 

Crudely made, with small foot-rim. Brown texture, covered with a black Raku glaze. 
Mark of Raku impressed. About 1750. 

Diameter, 4% inches. 

462— Tea Bowl. 

Old Takaton. Metal rim. Rich brown glaze, partially covered with drops of 
bluish-brown and metallic glaze. About 1750. 

Diameter, inches. 

463— Tea Bowl. 

Crudely made. Covered with a pale pinkish-red and light gray Raku glaze, and 
boldly crackled. About 1 800. 

Diameter, 4 inches. 

464— Tea Bowl. 

Tall shape. Reddish-brown and black Raku glaze of slight iridescent effect. About 

1700. 

Diameter, 3# inches. 

465 — Tea Bowl. 

Yellow and gray glaze. Incised decoration of five seated figures of Arhats. Prob- 
ably early Chinese pottery. About 16th century. 

Diameter, 5 inches. 



466 — Tea Bowl. 

Old Awata. Covered inside and outside with a black glaze of even surface, leaving 
the lower part in white glaze. Small foot-rim. About 1800. 

Diameter, 4 inches. 

467 ■ — Tea Bowl. 

Crudely made. Covered with a pale shrimp-red glaze, and has incised bands in criss- 
cross pattern. Mark of Kakihaii incised at the base. About 1750. 

Diameter, 4^ inches. 

468 — Cup. 

Deep form. Mukojima pottery. Chrysanthemums in colors on a white ground and 
partially glazed with black enamel. Signed Kenya, written in black in panel 
at the base. About 1850. 

Diameter, 3 inches. 

469 — Tea Bowl. 

Old Oribc. Bamboo leaves and plants incised, and filled in with white enamel and 
red and blue-gray glaze. Inside of pronounced crackle. About 1700. 

Diameter, 3^ inches. 

470 — Tea Bowl. 

Crudely made. Covered with a black Raku glaze and decorated with flaming balls 
incised under the glaze. Impressed mark ot Raku within double circle. About 
1700. 

Diameter, 4% inches. 

471 — Tea Bowl. 

Covered inside and outside with a brilliant black Raku glaze of iridescent quality 
» About 1700. 

Diameter, 4% inches. 

472 — Tea Bowl. 

Made by Robei, and signed Sei. Grotesque medallions painted in black over a 
white glaze, which is boldly crackled throughout. About 1800. 

Diameter, 5 # inches. 

473 — Bowl. 

Old Karatsu pottery. Dull gray and white glaze, which is boldly crackled through- 
out. About 1700. 

Diameter, 5 inches. 

474 — Tea Bowl. 

Early Seto pottery of hard brown-red texture, covered with a brilliant deep black 
glaze, thickly coated toward the lower part. About 1 700. 

Diameter, 5 i nches 



475 — Tea Bowl. 

Crudely made. Covered with a gray crackled glaze, the outer border in yellow and 
pink tints, with brush marks under the glaze. Mark of Raku impressed. About 
1750. 

Diameter, sU inches. 

476— Tea Cup. 

Old Soma pottery. Decoration of horses and crest in bold relief, thinly glazed in 
brown, and speckled. Mark of Soma impressed at base. About 1800. 

Diameter, 3^ inches. 

477 — Tea Bowl. 

With metal rim. Seto pottery of hard red texture, and covered inside and outside 
with a blue and gray glaze, partially mottled. About 1820. 

Diameter, 4 inches. 

478 — Tea Bowl. 

Irregular shape. Takatori pottery, covered with a white and pink glaze, and mottled 
with brown, yellow, and blue. About 1800. 

Diameter, 5 inches. 

479 — Tea Bowl. 

Thin Takatori pottery. Inside covered with a beautiful black glaze and drops of 
brown, and the outside coated with a yellow-brown thick glaze. About 1800. 

Diameter, 6 inches. 

480— Tea BowL 

Covered inside and outside with a red Raku glaze. Mark of Raku impressed at the 
base. About 17 10. 

Diameter, 4 inches. 

481 — Tea Bowl. 

Kioto potter}'. Decoration of a tiger and grass in brown and green, the reserve parts 
in white crackled glaze. Impressed mark of Sei. Made by Rokubei. About 
1840. 

Diameter, 3^ inches. 

482 — Tea Bowl. 

Thin Takatori pottery. Inside covered with a gray and brown glaze, and the out- 
side with a metallic brown glaze, and drops of black, blue, and white. About 
1800. 

Diameter, 4 inches. 

483 _ Tea Bowl. 

Old Awata pottery, and covered with a beautiful glaze of old ivory-white texture, 
which is minutely crackled throughout. Ahout 1800. 

Diameter, 4 inches. 



484 — Tea Bowl. 

Deep form. Old Chinese stoneware. Covered with a gray glaze, under which are 
characters in white enamel. About 1700. 

Diameter, 4^ inches. 

485 — Tea Bowl. 

Old Hagi pottery. Decoration of crest of Tokugawa, painted in brown under a 
blue-white glaze with a pronounced crackle. About 1790. 

Diameter, 4}^ inches. 

480 — Tea Bowl. 

Old Akahada pottery. Crudely made. Covered with a metallic brown glaze which 
thickens toward the base, and has a decoration of Mount Fuji in white relief. 
Mark Akahadayama, Kishiro, impressed. About 1800. 

Diameter, 4 inches. 

487 _ Tea Bowl. 

Kioto pottery. Decoration inside and outside of fret design ; brown glaze. About 
1800. 

Diameter, 5 inches. 

488 — Bowl, 

Old Tamba pottery. Covered with a brilliant brown and black glaze of smooth sur- 
face and with slight touches of nashiji or " pear-skin ' * finish. Animal-head 
ornaments to serve as handles. About 1 700. 

Diameter, 5^ inches. 

489 — Tea Bowl. 

Old Seto. Crudely made. Decoration of plants in black under the glaze, which is 
boldly crackled. About 1800. (Gold lacquer repair.) 

Diameter, 3^ inches. 

490— Tea Bowl. 

Old Kioto stoneware, with depression on one side. Decoration of leaves and fret 
pattern on the inside, and drops of brown red on blue and black glaze on the 
outside. Mark of Ninsei impressed. About 1790. 

Diameter, 4 inches. 

491 — Tea Bowl. 

Old Kioto stoneware, which is covered with a brown and pale gray glaze, and deco- 
rated with willow trees in blue and black. About 1800. Has carved teak 
stand inlaid with silver wire. 

Diameter, 4^ inches. 

492 — Bowl. 

Kioto stoneware. Made by Shozan. Decoration of pine trees and stork in blue 
and green outlined with gold. Rough, sandy texture. Signed Kenzan. About 
1870. 

Diameter, 6 inches. 



493 — Bowl. 

Pale pink and gray glaze. Decoration of stork in black, outlined with gold. Fine 
grav texture. Mark of Ippodo impressed. About 1800. 

Diameter, 4 ' : inches. 

494 _ Tea Bowl. 

Chinese pottery. Covered with a dull green and yellow crackled glaze. Decoration 
inside of flowers and trees, etched and filled in with enamel. About 1700. 

Diameter. \% inches. 

495 Tea Bowl. 

Hard reddish-gray texture. Covered with a pale bluish-white Raku glaze, boldly 
crackled. Mark in seal character impressed (illegible). 

Diameter, 4}^ inches. 

49G — Bowl. 

With spreading top and silver rim. Old Seto pottery of hard gray texture, covered 
inside and outside with a brilliant brown glaze and streaks of blue and white. 
Mark of Shun-rin impressed at base. About 1700. 

Diameter, 5^ inches. 

497 — Tea Bowl. 

Old Karatsu pottery. Plum trees with blossoms painted in blue under a crackled 
glaze of white. About 1750. 

Diameter, 6 inches. 

498 — Tea Bowl. 

Soft texture. Covered with a red, brown, and green Raku glaze speckled with red. 
Impressed seal mark (illegible). 

Diameter, 4 ^ inches. 

499 — Tea Bowl. 

Covered inside and outside with a blue glaze of low tone and thickly coated. Probably 
made by Riosai, Tokio. Nineteenth century. 

Diameter, 4^ inches 

500 — Square Bowl. 

Old Seto. Covered with a yellow glaze, slightly mottled and crackled. (Gold lacquer 
repair.) About 1750. 



Diameter, 3X inches. 



501 — Tea Bowl. 



Old Raku pottery. Soft gray clay, covered with a salmon-red Raku glaze. Impressed 
seal mark of Jisho. About 1800. 

Diameter, 4^ inches. 



502 — Tea Bowl. 

Banko pottery of white texture. Inside and upper part of outside covered with a 
blue glaze; the lower part of outside glazed with ivory-white enamel. About 
1800. 

Diameter, 4% inches. 

503— Tea Bowl. 

Old Karatsu pottery. Inside and outside thickly coated with a white crackled glaze. 
Decoration of chrysanthemum flowers painted in under-glaze blue. About 1 700. 

Diameter, 5 inches. 

504 — Tea Bowl. 

Shallow form. Covered with a black Raku glaze of iridescent quality. About 1750. 

Diameter, 5 inches. 

505 — Tea Bowl. 

Deep form. Old Satsuma. Decoration outside of floral medallions, figures, flowers, 
and grasses, in blue, green, and gold, over an ivory-white glaze. Minutely 
crackled throughout. About 1800. Has gold lacquer stand. 

Diameter, 4 inches. 

50G — Tea Bowl. 

Shallow form. Soft red-brown texture. Invested throughout with a black Raku 
glaze. About 1800. 

Diameter, 5 inches. 

507 — Tea Bowl. 

Deep form. Old Soma pottery of hard gray texture. The outside covered with a 
dull white glaze, to represent birch-bark, and the inside of blue crackled glaze, 
with decoration of leaves painted in blue. About 1750. 

Diameter, 4% inches. 

508 — Bowl. , 

Kutani porcelain. Decoration of fruits, leaves, and pine needles in blue and purple 
on the inside, and cloud designs in brown over blue on the outside. Mark of 
Fuku at base. About 1800. 

Diameter, 6 inches. 

509 — Bowl. 

Shallow form. Old Kioto pottery. Decoration of grasses and bird, painted in blue 
under the glaze, in centre medallion. The outside covered with blue and yellow- 
gray glaze, which thickens toward the edge. Spun mark at foot, and impressed 
mark of Ninsei, in large characters, inside of an oblong panel. About 1650. 

Diameter, 7 inches. 

510— Tea Bowl. 

Old Korean pottery of hard gray texture. Floriated pattern scratched in centre under 
the glaze, which is crackled throughout. About 1600. 

Diameter, 7 inches. 



511 — Tea Bowl. 

Old Kiyomidsu pottery. Flowers painted in blue and brown in centre under a 
crackled white glaze. Impressed mark Asahi tei (name of a tea-house). 
About 1820. 

Diameter, 8 inches. 

512 — Octagonal Bowl. 

Old Kishiu porcelain. Covered with a yellow and purple iridescent glaze. About 
1800. 

Diameter, 6 inches. 

513 Bowl. 

Old Banko pottery, of a hard gray crackled texture. Decoration of peony flowers 
in brown and green, in freehand painting. About 1800. 

Diameter, 6 inches. 

514 _ - Bowl. 

Irregular shape. Old Oribe pottery, coated with splash glaze of rich green, with 
brown stripes. About 1800. 

Diameter, $}( inches. 

515 — Bowl. 

Deep form. Old Kioto stoneware, probably by Rokubei. Decoration of crabs and 
flowers sketched in blue and brown, over a white glaze. Nineteenth century. 

Diameter, inches. 

51(; _ Bowl. 

Old Kutani porcelain. Decoration inside, of flowers and leaves, boldly painted in 
rich purple, green, and yellow enamels, and the outside decorated with wave 
designs in black and blue. Mark of Fuku at base. About 1750. 

Diameter, 9 inches. 

517 — Bowl. 

With small spout. Kioto pottery of fine gray texture, and covered with a brown and 
yellow glaze. Nineteenth century. 

Diameter, 3^ inches. 

518 — Bottle. 

Kioto stoneware. Decoration of plants under a white, crackled glaze. 

Height, 4% inches. 

519 — Covered Jar. 

Kioto pottery, which is coated with a thick blue glaze and has a panel decoration of 
flowers and fret designs in brown. 

Height, 4 inches. 

520 - Cup with Handles. 

Old Seto. Rich brown, yellow, and green mottled glaze. About 1750. 

Height, 3 inches. 



Old yapanese and Chinese 

Pottery 



521 — Bottle-shaped Vase. 

Old Seto pottery. Coated with a splash glaze of white and gray, running over a 
deep black under-glaze. (Gold lacquer repair.) About 1800. 

Height, 4# inches. 

522 — Bottle-shaped Vase. 

Old Takatori. Hard reddish texture, which is covered with a blue and brown glaze. 

Height, inches. 

523 — Hanging Vase. 

Old Iga stoneware. Crudely shaped, and covered with a brown and gray glaze of 
rough, sandy surface. Scratched mark at base. About 1 700. 

Height, 4^ inches. 

524 — Jar. 

Old Shigaraki pottery, which is coated with a thick, brilliant blue glaze. 

Height, 3 Inches. 

525 - Vase. 

Kioto pottery. Sketchy decoration of leaves and flowers in brown. Made by 
Okumura Shozan. Nineteenth century. 

Height, 4# inches. 

52G - Vase. 

With rabbit-shaped handles. Old Hagi pottery. Decoration of waves painted in 
under-glaze blue. About 1800. 

Height, 4&' inches ; diameter, 4 inches. 

527 — Gourd-shaped Bottle. 

Old Chinese copper souffle, covered with a beautiful metallic glaze of smooth surface. 
About 1750. 

Height, 5 inches. 



528 — Celadon Jar. 

Old Chinese. A soft, low-toned glaze, covering the entire surface. About 1650. 

Height, 5^ inches. 

520 — Bottle. 

With twisted neck. Old Shidoro stoneware, covered with a brown and yellow-green 
mottled glaze. Impressed mark of Shidoro within an oblong panel at base. 
About 1800. 

Height, tyi inches. 

530 — Vase. 

With wide mouth. Old Idzumo pottery, invested with a rich red-brown and yellow 
glaze. About 1800. 

Height, 5 inches. 

531 — Jar. 

Shigaraki pottery, covered with a blue crackled glaze, which is marked w'th small 
white specks. 

Height, 5 inches. 

532 . — Jar with Handles. 

Old Seto pottery, crudely shaped, and with depressed ringer marks. Covered with 
a yellow-brown crackled glaze. About 1750. 

Height. 4 inches. 

533 — Hanging Vase. 

Old Takatori pottery, which is coated with a yellowish-brown glaze. 

Height, 6 inches. 

534 — Wine Bottle. 

Old Kioto pottery. Figures, flowers, and fret pattern, sketched in blue, by Dohachi, 
Kioto. Signed. 

Height, 7 inches. 

535 — Vase. 

Seto pottery, coated with a grayish-blue and red glaze which is slightly mottled. 
About 1800. 

Height, 9 inches. 

536 — Long-neck Bottle. 

Old Mishima-Karatsu pottery. Mishima decoration in white under a gray-white 
glaze. About 17 00. 

Height, 7% inches. 

537 _ old Tamba Bottle. 

Flask shaped, with handles. Invested with a brilliant black glaze of iridescent 
quality. About 1700. 

Height, 6 inches. 



538 — Bottle. 

With short neck, which is rimmed with silver. Chinese pottery, of fine gray 
crackled texture. Coated with blue glaze, shading into brown. Probably 1750. 

Height, inches. 

539 — Vase. 

With slender base. Takatori stoneware, covered with a brown glaze and a dash of 
black round shoulder. 

Height, 6 inches. 

540 — Wine Holder. 

Old Seto pottery. Decoration of dragon modelled in relief in the paste under a 
brown glaze, which is splashed with pale blue. About 1750. 

Height, 5 inches. 

541 — Old Tamba Wine Bottle. 

Coated with a beautiful brown-black glaze of smooth surface. Impressed mark of 
Naosaku, About 1700. 

Height, 7 inches. 

542 — Old Kikko Vase. 

With slender neck and handles. Decoration of tree in brown under a glaze of 
yellow, brown, and green. 

Height, 1% inches. 

543 — Old Seto Vase. 

With side ornaments in design of animal heads, and covered with a rich dark brown 
and blue glaze. About 1800. 

Height, %% Inches. 

544 — Flower Vase. 

Seto pottery, which is covered with a dark brown and yellow mottled glaze. Band 
of leaves around the shoulder, incised and filled in with gold. Impressed mark 
of Toyosuke. Nineteenth century. 

He 'ght, 4# inches. 

545 - — Vase with Handles. 

Fashioned to imitate an old iron vase. Old Seto stoneware, which is invested with a 
rich brown and black glaze with metallic specks. Impressed mark of Shuntai 
within an oblong panel. About 1800. 

Height, 11 inches. 

546 _ Red Raku Vase. 

Coated with white and salmon-red glaze. Mark of Raku impressed at side. About 

1700. 

Height, 7 inches. 



547 — Gourd-shaped Bottle. 

Old Tamba pottery, coated with a white glaze which is streaked with brown. Neck 
rimmed with silver. Impressed mark of Ichisaku at base. About 1750. 

Height, 7}£ inches. 

548— Vase. 

Oviform, with short neck. Old Chinese celadon crackled glaze. About 1750. 

Height, 7 inches. 

549 — Oviform Vase. 

Old Seto stoneware of gray texture, and covered with a dull gray mottled glaze. 
About 1750. 

Height, d% inches. 

550 — Seto Jar. 

Coated with a creamy white glaze running over a brown under-glaze, which is 
crackled. Early nineteenth century. 

Height, 4)4 inches. 

55 X — Sake Bottle. 

Soma pottery. Dull brown glaze, slightly mottled. About 1800. 

Height, (>% inches. 

552 — Shidoro V ase. 

With slender short neck and supported by four legs, and coated with a bluish-white 
running glaze over mottled brown. About 1750. 

Height, 6^ inches. 

553 — Sake Bottle. 

Old Kiyomidsu pottery, which is covered with a blue-green running glaze, and with 
decoration of horse in brown. About 1800. 

Height, ■}% inches. 

554 — Vase. 

Old Chinese pottery. Pale blue glaze on one side, and a dull yellow glaze on the 
other. Early sixteenth century. 

Height, 7j£ inches. 

555 — Cochin-Chinese Jar. 

Invested with a brilliant green glaze, thickening at the base, and crackled throughout. 
Early nineteenth century. 

Height, inches. 

556 — Celadon Vase. 

With bird-shaped handles. Decoration of howo bird carved in low relief under the 
glaze, which is boldly crackled. Old Chinese. Seventeenth century. 

Height, 8 inches. 



557 — Covered Bowl. 

In form of a sacred ball. Raku pottery, coated with a rich green .enamel and 
ornamented with gold lacquer. Early eighteenth century. 

558 — Old Kioto Jar. 

Soft texture, covered with a dull white and yellow glaze. About 1800. 

Height, 4 inches. 

559 — Tripod Censer. 

Chinese porcelain. Tea-leaf glaze of a rich brown color. Mark of Ch'ien-lung, 
1736-1795. 

Height, 1% inches. 

560 — Tripod Censer. 

Old Raku pottery, which is coated with a green Raku glaze. Conventional key pat- 
tern incised round the shoulder and partially rilled in with gold. About 1800. 

Height, 4 inches. 

561 — Long-neck Bottle. 

Satsuma pottery. Cream-white crackled texture, and partially covered near the top 
with a rich brown, green, and yellow glaze. About 1800. 

Height, 9 inches. 

562 — Bottle. 

With long neck and flaring mouth. Old Chinese pottery, invested with a turquoise- 
blue crackled glaze. Early eighteenth century. 

Height, 9 inches. 

563 — V ase. 

With flaring mouth. Old Cochin-Chinese pottery. Decoration of flowers in open- 
work, and enamelled with yellow and green glaze. Early seventeenth century. 

Height, lYt inches. 

564 — Old Oribe Tray. 

With handle. Coated with green splash glaze and decorated with flowers in brown. 
About 1800. 

Diameter, 8 inches, 

565 — Old Satsuma Bottle. 

With long neck. Dull ivory-white texture, which is minutely crackled throughout. 
Has elaborately carved teak stand. About 1750. 

Height, io inches. 

566 — Takatori Water Jar. 

Invested with a red-brown thick glaze, over which are drops of yellow. The inner 
surface is covered with a mustard-yellow and brown mottled glaze. Nineteenth 
century With black lacquer cover. 

3 Height, b% inches. 



567 — Old Agano Bottle. 

Coated with a dark brown and blue-black glaze which is partially mottled. Early 
eighteenth century. 

Height, 7 inches. 

568 - — Square-shaped Bottle. 

With slender short neck. Old Kiyomidsu pottery, which is invested with a cream-white 
glaze, and marked with drops of sea green round the shoulder. Eighteenth century. 

Height, 7 inches. 

569 — Old Satsuma Bottle. 

In form of an egg plant. Brilliant dark purple glaze, with streaks of a paler tint. 
Eighteenth century. 

Height, 8# inches. 

570 — Statuette of Kwannon. 

Old Chinese pottery, coated with a black glaze. Eighteenth century. 

Height, inches. 

571 — Vase with Handles. 

Old Chinese pottery, which is covered with a bluish-brown glaze, slightly mottled. 
About 1650. 

Height, 8^ inches. 

572 — Kiyomidsu Bottle. 

With short neck. Decoration, in a sketchy style, of plum trees and blossoms in white 
and brown, on a red-gray glaze. About 1800. 

Height, 1% inches. 

573— Jar. 

Takatori stoneware. Decoration of kiri flowers and floral vines painted in blue and 
gold. About 1800. 

Height, 5j£ inches. 

574 — O kimono. 

In form of a snowball, upon which a Chinese boy is standing. Pale white glaze with 
yellow-brown crackle. About 1820. 

Height, 7 k inches. 

575 — Old Imbe Jar. 

Hard red-brown texture, crudely fashioned, and covered with a red glaze which has 
thick drops of yellow and brown. Eighteenth century. 

Height, 6 inches. 

576 — Gourd-shaped Bottle. 

Old Banko. Decoration of varied diapered patterns, and figures within panels, in- 
cised and glazed. About 1750. 

Height, inches. 



577 — Chinese Pottery Vase. 

With handles in design of animal heads, coated with a rich brown glaze. Mark 
of Chia-ch'ing, 1796-1820. 

Height, 10 inches. 

578 — Vase with Handles. 

Probably old Seto. Beautiful blue glaze with splashes of white, and slightly mottled. 

Height, 9 inches. 

579 — Unique Bottle. 

Old Takatori potter)' with numerous natural shells adhering. Covered with a 
yellowish-brown crackled glaze. Eighteenth century. 

Height, 8J£ inches. 

580 —Jar. 

Old Cochin-Chinese pottery. Decoration of medallions in relief under a yellow- 
brown glaze. Seventeenth century. 

Height. U% inches. 

581 — Gourd-shaped Bottle. 

Old Takatori, which is coated with a brilliant black and metallic brown glaze. 
About 1700. 

Height, 9 inches. 

582 — Flower Vase. 

Satsuma stoneware. Iron-rust glaze, with splashes of white and blue covering the 
upper pans. About 1800. 

Height, S/4 inches. 

583 — Short-neck Bottle. 

Old Seto. Invested with a pale gray glaze, boldly crackled throughout. Decoration 
round the shoulder of medallions in under-glaze blue. 1650. 

Height. 9 inches. 

584— Old Imbe Jar. 

Invested with a metallic brown glaze, which is speckled with red-brown iridescent 
spots. About 1750. 

Height, 6 inches. 

585 — Takatori Vase. 

Tall quadrilateral shaped, and covered with a yellow-gray glaze, slightly mottled. 

About 1700. 

Height, 83^ inches. 

586 — Old Banko Bowl. 

Shell shaped. Inside covered with a rich dull green-blue glaze dotted with brown 
spots and crackled throughout. Outside is coated with green-brown and ivory- 
white crackled glaze. About , 700. ^ ' 



587 — Water Jar. 

With original cover. Takatori pottery, and covered with splashes of buff, blue, and 
brown glaze. The cover is invested with a beautiful green glaze. About 1750. 

Height, 7 inches. 

588 — Oviform Bottle. 

With short neck. Chinese pottery, and covered with a blue-white glaze slightly 
touched with brown. Eighteenth century. 

Height, S'X inches. 

589 — Old Seto Jar. 

Coated with a thick yellow, dark brown, and metallic glaze. Probably early sixteenth 
century. 

Height, S inches. 

590 — Old Takatori Jar. 

Decoration of geese in flight, painted over a pale blue glaze, which is crackled. 
About 1750. 

Height, 6^ inches. 

591 — Old Takatori Jar. 

Covered with a subdued yellow-brown glaze, which is slightly mottled. About 1750. 

Height, 7V inches. 

592 — Old Seto Bottle. 

Covered with a golden brown intermixed with a brilliant brown glaze, boldly crackled 
around the lower part. About 1750. 

Height. inches. 

593 — Old Karatsu Jar. 

Thick brown texture, covered with a brown and green glaze of rough surface. 
Marks of thread lines at base. Probably early sixteenth century. 

Height, 6 inches. 

594 — Old Idzumo Tripoa Censer. 

Invested with a rich dark brown and yellow glaze of iridescent quality. Impressed 
mark (illegible). About 1750. 

Height, 5 inches. 

595 — Old Kis/iiu Jar. 

Decoration of flowers and leaves engraved and incised in the paste, and covered with 
green, yellow, and white glaze on a ground of purple. About 1750. 

Height, 6 inches. 



59C — Old Takatori Bottle. 

With short neck. Covered with a rich dark green and brown glaze. About 1700. 

Height, 8 inches. 

507 _ old Seto Jar. 

Covered with a beautiful sea-green glaze of iridescent quality. Mark Yoshihisa 
incised underneath foot. About 1 800. 

Height, 6X inches. 

59H — Cylindrical Vase. 

Kishiu pottery, covered with a rich dark green, brown, and yellow glaze. Impressed 
mark of Kai-raku-yen. About 1800. 

Height, 7% inches. 

599 — Old Karatsu Bottle. 

With short neck. Coated with a pale buff and gray crackled glaze. About 1700. 

Height, i% inches. 

GOO — Old Banko Vase. 

Bottle shaped. Raised decoration of flowering vilfcs, and covered with pale brown 
blue, and red glaze. Impressed mark Banko at base. About 1800. 

Height, \Q% inches. 

601 — Water Jar. 

Old Takatori, invested with a metallic black and brown glaze under a thick white 
crackled glaze. Thread lines at base. About 1700. 

Height, b inches. 

602— Bottle. 

In shape of a bamboo root. Decoration of tiger on a rich brown, yellow, and thick 
white glaze. About 1750. 

Height, 9# inches. 

603— Jar. 

Early Karatsu stoneware, covered with a pale celadon glaze, which is boldly crackled 
About 1750. 

Height, 8 V inches. 

G04— Old Seto Bottle. 

With bent mouth. Crudely fashioned. Covered with a pale blue glaze over a 
ground of dark tea-leaf color. About 1 700. 

Height, 10 inches. 

605 — Bottle . 

With short neck, which is rimmed with silver. Old Karatsu pottery. Decoration 
of leaves incised, and filled in with white mishima enamel on a ground of pale 
gray crackled glaze. About 1750. 

Height, 9 inches. 



600 — Old Kutanijar. 

Covered with a dark green glaze, and decorated with storks and cloud forms in a 
lighter shade of green. About 1800. 

Height, s'A inches. 

607 —Jar. 

With four loop-shaped handles at the shoulder, for hanging purposes. Old Imbe 
stoneware, invested with a red, yellow, and light gray glaze. Seventeenth cen- 
tury. 

Height, §y 2 inches. 

608 — Teapot. 

With iron top handle. Chinese pottery, covered with a rich dark brown glaze, and 
marked round the shoulder with blue splashes. Impressed seal mark (illegible). 
About 1800. 

Height, 1% inches. 

609 — Floiver Vase. 

Idzumo pottery, covered with a yellow and green glaze, and small parallel lines in- 
cised underneath the glaze. About 1800. 

Height, 5Ji inches. 

610 — Bottle. 

Globular shape, with a short, flaring neck, which is rimmed with bronze. Old 
Chinese. Flowering vines incised in relief under a celadon glaze of subdued 
tone. Seventeenth century. 

Height, 8^ inches. 

gll — Vase. 

With flaring mouth. Chinese pottery, covered with a rich dark brown glaze. 
Seventeenth century. 

Height, \1\ inches. 

612 — Old Bankojar. 

Covered with a pale blue glaze, which has pink tints and incised brush marks under 
the c;laze. Early eighteenth century. 

Height, 9 inches. 

013 — Cylindrical Vase. 

With wood cover. Seto stoneware, covered with a cream-white crackled glaze, 
which is marked with drops of yellow, brown, and blue. About 1750. 

Height, io# inches. 

614 — Brazier. 

Ohi potterv, covered with a yellow glaze. Decoration of howo birds and kiri leaves 
modelled in high relief inside of a panel. Impressed mark of Ohi. 1800. 

Height, inches. 



615 — Oviform Vase. 

Old Chinese pottery, covered with a dull white crackled glaze. Seventeenth century. 

Height, toji inches. 

616 —Jar. 

Raku green pottery. Decoration of leaves carved in flat relief, and covered with 
green enamel. Carved teak cover. Eighteenth century. 

Height, %% inches. 

617 — Water Jar. 

With brown lacquer cover. Old Takatori stoneware, invested with a rich dark 
brown and black glaze. Sixteenth century. 

Height, inches. 

618— Jar. 

Shigaraki pottery, covered with a pale blue glaze. Eighteenth century. 

Height, 5 inches. 

619— Jar. 

With four small loop-shaped handles at the shoulder, for hanging purposes. Old Iga 
pottery of hard, brown, sandy texture, and covered with a dark yellow-green mottled 
glaze. One side of jar depressed. Seventeenth century. 

Height, 10% inches. 

620 —Jar. 

Old Cochin-Chinese pottery. Decoration of flowers, beautifullv incised within cir- 
cular-shaped panels, and covered with a brilliant green enamel. Early seven- 
teenth century. 

Height, $% inches. 

621 — Cylindrical Vase. 

With handles. Decoration of kingfisher, reeds, and Japanese poem, painted in a 
freehand manner, and glazed with gray, blue, and brown. Mark of Dohachi 
incised at base. Eighteenth century. 

Height, 10 inches. 

622 — Statuette. 

Of a demon at prayer. Old Kishiu pottery, crudely modelled, covered with a beau- 
tiful crackled glaze of purple and green. Early eighteenth century. 

Height, 15 inches. 

623 —Jar. 

With four loop handles at the shoulder, for hanging purposes, covered with drops of 
brown, green, and gray enamels. Nineteenth century. 

Height, i\% inches. 



624 — Vase. 



With flaring mouth and animal-head handles. Old Takatori pottery. Decoration 
of chrysanthemums modelled in relief under a beautiful glaze of brown with 
yellow tint. Seventeenth century. 

Height, 13 inches. 

g25 — Temple Pilaster. 

Slender quadrilateral shaped. Old Chinese pottery, covered with a beautiful glaze 
of the true peacock-blue type, and minutely crackled throughout. The ends, 
which are free of glaze, are decorated with figures of animals and leaf patterns 
carved in relief. Eighteenth century. 

Length, 21 inches ; diameter, 4% inches. 

626 —Jar. 

With original cover. Satsuma pottery of cream-white crackled texture. Finely 
painted decoration of peony flowers within panels, pencilied in red, green, and 
gold enamels; the reserve ground covered with flowering vines painted in red, 
blue, purple, and gold. Eighteenth century. 

Height, 9 inches. 

627 — Imperial Vase. 

Graceful pear shaped, flaring at mouth. Satsuma pottery of unusually fine texture, 
covered with a brilliant red glaze, over which is a decoration of Awoye leaf 
scrolls, painted in blue, gold, and green enamels. Round the neck are the 
crests of the Prince of Satsuma, and the imperial kiku and kiri floral crests, 
pencilled in blue and gold, and encircling the base is an embellishment of cherry 
blossoms pencilled in red, blue, green, and gold. Eighteenth century. Has a 
gold lacquered stand, which is finely decorated. 

Height, I7ji inches. 



Bronzes 



628 — Bow/. 

Old golden bronze. Repousse ornamentation. Eighteenth century. 

Diameter, 5 inches. 

629— Vase. 

With tall, slender neck. Murashido bronze. Seventeenth century. Carved teak 
stand. 

Height, 7 inches. 

630 — Bottle-shaped Vase. 

With handles in design of animal heads. Murashido bronze. Decoration round 
shoulder, modelled in relief. Eighteenth century. Carved teak stand. 

Height, 10X inches. 

631 — Portable Stove. 

Antique Chinese bronze. Arabesque designs in relief casting. Seventeenth century. 

Height, inches. 

632 — Bottle. 

With tall, slender neck. Murashido bronze. Red and brown patina. Eighteenth 
century. 

Height, 10^ inches. 

633 — Temple Gong. 

Old Japanese bronze. Engraved inscription, dedicated to the temple Denchinji, the 
rector Bogiu, at Yedo, May, 1825. 

Diameter, 1% inches ; height, 5 inches. 

634 — Water Jar. 

With original cover. Old Hiroshima bronze. Medallions of symbols and leaf 
scrolls in repousse. Early eighteenth century. Carved teak stand. 

Height, I0>£ inches. 

635 — Flower Vase and Stand. 

Japanese bronze. Decoration, representing running glaze on pottery and wave 
designs, carved in relief. The stand is in design of turbulent water. Made 
bv To-un, and signed. Eighteenth century. 

Height, 9 inches. 



G3G — Hexagonal Hibachi. 

Panel decoration of pine, bamboo, plum trees, and storks, carved in relief. Has small 
drawer in base. Eighteenth century. 

Height, 7 inches. 

637 — Oblong Jardiniere. 

Chinese cloisonne enamel on gilded bronze. Profusion of peony flowers in various 
enamels on a turquoise-blue ground. Mark of Tokusei stamped at base. 
Eighteenth century. 

Height, 6>£ inches. 

638 — Japanese Bronze Lamp. 

Made of a baluster-shaped vase, the ground of which is covered with incised wave 
designs. The ornamentation consists of various panels, inside of which are 
figures of birds in gold inlaying, and an outer framework of bamboo design. A 
rich brown patina covers the entire surface. Made by Ziomi of Kioto, and 
signed. Nineteenth century. 

Height, 23 inches. 



FOURTH AFTERNOON'S SALE 
Wednesday, January 28th, 1903 

BEGINNING PROMPTLY AT 3 O'CLOCK 

Netsukes, yapanese Daggers, 
and Cabinet Objects 

039 — Five Carved Ivory Netsukes. 

Button shaped. " Palace Cook," carved by Ipposai; " Manzai Dancers," by Rauko; 
"Making New Year's Call," by Kojitsu; "Mask Modeller," by Kosai; 
and "Head of Woman," by Masayuki. All eighteenth century specimens. 

G40 — Six Carved Ivory Netsukes. 

Button shaped. "No Dancer," by Naosada; " Boy Beating Drum, " by Koget- 

susai; "Child at Play," by Ipposai; "Child Carrying Mask," by Kozii. 

Eighteenth century. "Child with Fans " and " Warrior Writing. " Nine- 
teenth century. 

641 — Three Carved Ivory Netsukes. 

Button shaped. "Wrestler" and "No Dancer." Nineteenth century. "Trees and 
Figures." Eighteenth century. 

642 — Ivory Netsuke. 

Carved dragon. Eighteenth century. 



G4-3 — Ivory Netsuke. 

Mask of a Japanese woman. Nineteenth century. 

644 — Two Ivory Netsukes. 

M Two Monkeys after Chestnuts," and " Dog Playing with a Shell," by Okatomo. 
Eighteenth century. 

645 — Ivory Netsuke. 

" A Toad Carrying a Man." Nineteenth century. 

646 — Two Ivory Netsukes. 

"Camel." Eighteenth century. "Fox and a Drum," by Masatoshi. Eighteenth 
century. 

647 — Two Netsukes. 

" Dog" and " Monkey Carrying Basket." Eighteenth century. 

648 — Two Ivory Netsukes. 

" Quail and Millet " and " Conch Shell." 

649 — Two Ivory Netsukes. 

"A Cat Devouring a Mouse," by Isshiusai, and "An Imp on Top of Drum." 
Eighteenth century. 

650 — Two Ivory Netsukes. 

" God of Wind," and " Deer and Man," by Masa-mitsu. Eighteenth century. 

651 — Ivory Netsuke. 

Group of shells. Eighteenth century. 

652 — Two Wood Netsukes. 
Dragons. 

653 — Three Wood Netsukes. 

" Imp on Leaf," " Cat and Mouse," and " Lion Coming Out of a Shell," carved and 
lacquered. Eighteenth century. 



654 — Two Ivory Netsukes. 

" Hotei inside of a Bag," and " Daruma." Eighteenth century. 

655 — Two W ood Netsukes. 

"Falcon and Pine Trees," and " Woman and Bell," by Masakazu. Eighteenth 
century. 

656 — Two Wood Netsukes. 

" Catfish," carved and lacquered, and " Sleeping Woman," by Keizan. Eighteenth 
century. 

657 — Two Gold Lacquer Netsukes. 

" Manzai Dancers." Eighteenth century. 

658 — Ivory Netsuke. 

" Peace Drum and Rooster," in gold, set in carved ivory. Signed, Mitsu. Eighteenth 
century. 

659 — Ivory Netsuke. 

" Quail and Millet," by Okatomo. Eighteenth century. 

660 — Three Wood Netsitkes. 

" Lion and Cub," by Minkoku. " Imp with Lantern on his Head," by Masanao, 
and " Cicada [insect] on Trunk of Tree," carved by Kuanman, province of 
Iwami. Eighteenth century. 

661 — Three Wood Netsukes. 

" Mask of Monkey," by Hidemasa. Seventeenth century. " Dragon and Clouds," 
carved and lacquered, by Masayoshi. Seventeenth century. "Mask," by 
Tadatoshi. Eighteenth century. 

662 — Three Wood Netsukes. 

" A Seated Daruma," by Shiumin. Seventeenth century. " Man Resting on a 
Tree Trunk," by Shoraku, and "Horse," by Hokio Sessai. Eighteenth 
century. 

563 — Wood Netsuke. 

" Two Tortoises on an Awabi Shell," by Tamctaka. Seventeenth century. 



664 — Two Ivory Neisukes. 

" Biwa Fruit," and " Mushroom and Monkey." Eighteenth century. 

665 — Two Wood Netsukes, 

** Bamboo Shoots," by Shozan, and "Monkey," by Toyoharu. Eighteenth century. 

666 — Two Netsukes. 

"A Boy and Cow," by Tomotada, and "Cow," by Tadakuni. Eighteenth century. 

667 — Wood Netsuke. 

" Snake Coiling round a Tortoise." Eighteenth century. 

668 — Ivory Netsuke. 

" Traveller on Horseback," by Shomin. Eighteenth century. 

669 — Ivory Netsuke. 

" Mice round Bag," by Okatomo. Eighteenth century, 

670 — Three Netsukes. 

" Gold Lacquered Lion," "Mouse and Vegetable," by Shibayana Yekishiu, and 
carving of a " Daruma. " Eighteenth century. 

67 1 — Ivory Netsuke. 

" Group of Three Jolly Imps," by Shingioku. Eighteenth century. 

672 — Ivory Netsuke. 

" Collection of Shells," by Giokuho, of Hiroshima. 

673 — Ivory Netsuke. 

" Two Lions," by Anraku. Eighteenth century. 

674 — Ivory Netsuke. 

" Goose," in chased gold, set in carved ivory in openwork design of reeds. Eighteenth 
century. 



G75 — Wood Netsuke. 

" Tiger." Eighteenth century. 

G7G — Two Ivory Netsukes. 

" Old Women." Eighteenth century. 

07 7 — Ivory Netsuke. 

" Lion and Cub," by Giokuyosai. Eighteenth century. 

G78 — Ivory Netsuke. 

" Young Warrior." Nineteenth century. 

679— Two Ivory Netsukes. 

" Swan," and seated ligure of *« Fukusuke. " 

680 — Two Netsukes. 

" Group of Wrestlers, " eighteenth century, and carved walnut shell. 

G81 — Ivory Netsuke. 

" Lion," by Tomotada. Eighteenth century. 

082 — Ivory Netsuke. 
M Tortoise," set in coral. 

G83 — Ivory Netsuke. 

" Peonv," by Shiugetsu. Eighteenth century. 

084 — Ivory Teapot. 

Elaborate decoration of blooming peonies, artistically carved in relief. The cover is 
ornamented with a figure of a lion and butterflies. Signed Masa-mune. 

Height, inches. 

685 — Round Ivory Box. 

Containing five fan and drum-shaped boxes. The outer box is decorated with butterflies 
and diaper patterns, delicately pencilled in gold over a red and green lacquer 
ground. The boxes inside are of gold lacquer, and exquisitely decorated. 
Eighteenth century. 

Diameter, 3 inches. 



686 — Jade Perfume Box. 

Flowers and symbolical signs in intricate openwork. Inside lined with silver. Eighteenth 
century. 

Diameter, inches. 

687 — Miniature Vase. 

Shakudo, shibuichi, and red stippled bronze. Birds and stream inlaid in silver and 
gold. Early nineteenth century. 

Height. 4 inches. 

688— Sword Guard {Tsuba). 

Silver. Figure of Kwannon and a boy, in gold and bronze incrustation, and exquisiteiy 
carved and chased. Wave design in shakudo inlay, on the reverse, a leaping 
carp in shakudo. By Mori-toshi. Nineteenth century. 

689 — Set of Sword Mounts (Fuchi and Kashira). 

Shibuichi. Kwannon seated on a rock, carved and chased. By Nori-chika. Early 
nineteenth century. 

€90— Three Bronze Masks. 

Japanese specimens. Nineteenth century. 

691 — Miniature Silver Vase. 

Openwork basket design, carved and chased. Eighteenth century. 

Height, 3% inches. 

692 — String of Inro and Pouch Slides. 

Consisting of twenty-eight specimens in gold, silver, goldstone, coral, shibuichi, 
cloisonne enamel, ivory, natural nuts, cinnabar lacquer, kamakura lacquer, and 
agate. Many of them signed by noted artists. 

693 — Pouch and Pipe Case. 

Pouch made to imitate " mokugio," and elaborately carved. Pipe case of carved horn, 
studded with mother-of-pearl and ivory. 

694 — Pouch, Pipe Case, and Pipe. 

The pouch decorated with gold lacquer. The pipe case of horn and bamboo, with relief 
carving of figure of Tenguc and cobwebs, by Masayuki. Silver-mounted pipe. 



695— Japanese Portable Ink and Brush Holder. 
Silver. Basket-work design in relief casting. 



696 — Japanese Pipe. 

Shakudo and silver, with butterflies incrusted in gold. 



697 — Iron Case for Knife. 

Chinese grass pattern in openwork, skilfully wrought, and slightly overlaid with gold; 
silver and gold mountings. 

698 — Japanese Portable Ink Well. 

Wicker-work design in silver openwork. 

699 — Japanese Silver Bracelet. 

Made of twenty-three joints, on each of which are various diapered and brocaded 
patterns in gold, silver, shakudo, and shibuichi damascenes. 

1QQ. — , Jewel Case. 

Melon shaped. Peony flowers and vines in openwork, and beautifully chased; the 
leaves are wrought gold. 

701 — Dagger (Tanto). 

Length of blade, io^ inches. Signed, Kiyo or Sei. Seventeenth century. Scabbard 
is of lacquer, with decoration of grass and cloud forms. Solid gold mountings 
wrought in design of howo birds, kiri flowers, and leaves, exquisitely finished in 
skilful chasing over a finely stippled background. Signed by Manzu, a noted 
goldsmith of Yedo (now called Tokio). The handle is of silver, ornamented 
with a dragon, tortoise, and kirin, which are made of gold. Kodzuka of gold 
bears signature of Toshi-nori. Kogai, which is also made of gold, bears signa- 
ture of Riuseimin. Bears the family crest of Daimio of Awa. 

702 — Dagger ( Tanto). 

Length of blade, 8 inches. Signed, Bishiu, Osafune Kiyomitsu. Dated 24th year 
of period Tembun, 2d month (1556 a.d.). Black lacquer scabbard. Silver 
kodzuka, silver kogai, and gold and silver menuki. The mountings are orna- 
mented with chrysanthemum, plum, and bamboo in relief chasing, and are signed 
To-unshi Zukin. The kogai and kodzuka are by Makino Toshi-tsugu. 

703 — Dagger ( Tanto). 

Length of blade, 8^ inches. Signed, Bishiu, Osafune Gorozayemon no Kami 
Kiyomitsu Sukesada tsukuru. Dated Tembun period, 1st vear, 8th month 
(1532 a.d.). Black lacquer scabbard, decorated with bamboo, plum, and 
plants in mother-of-pearl lacquer. The mountings are of gold, silver, and 
shakudo, by Hankotei. 



704 — Dagger (Tanto). 

Length of blade, 1 1 inches. Signed, Shidsu Sabro Kane-uji. Sixteenth centurv. 
Black lacquer scabbard, decorated with cloud forms in mother-of-pearl inlay. 
Gold and silver and shakudo mountings, exquisitely wrought in design of peony 
flowers. 

705 — Japanese Flute. 

With gold lacquer case. Polished black lacquer, with decoration of wild chrysanthe- 
mums pencilled in gold. Silver mounting, and gold ornament of dragon. 
Early eighteenth century. 

706 — Black Lacquer Cabinet. 

Decoration of cherry blossoms in yellow bronze incrustation on a ground of mother- 
of-pearl inlay. Has seven small drawers. Handles and mountings of silver. 

Height, 11)4 inches; length. 15 inches. 



Miscellaneous Objects 



707 — Small Sung Vase. 

Oviform. Coated with a heavy glaze of clair-dt-lune, which has a pronounced crackle. 

70g — Oviform Vase. 

Sung pottery. Covered with a monochrome glaze of bltu-dt-ciel. Bat-shaped handles 
at shoulder. 

Height, 6 inches. 

"09 Sung Bottle-shaped Vase. 

Dragon modelled in relief and encircling neck, heavily coated with a pale turquoise- 
blue glaze, which is minutely crackled throughout. 

Height, 7j£ inches. 

710 Two Tea Caddies. 

Old Chinese porcelain, with a decoration of landscape, peony, and leafy scrolls in 
undcr-glaze blue. 

711 — Large Bowl. 

Old Canton sonorous porcelain. Medallion and floral decoration in brilliant under- 
glaze blue. 

Diameter, 13 inches. 

712 — Twelve Plates. 

Japanese porcelain of fine texture. Rich cobalt-blue borders; maple leaves and deer 
pencilled in coral red and gold. 

Diameter, 7% inches. 

713 Five Cups and Saucers. 

Imari porcelain. Medallion and scroll decoration in under-glaze blue, copper red, 
and gilding. 

714 Seven Tea Cups and Saucers and Cream Pitcher. 

Wedgwood. Classical subjects modelled in relief in white on a blue ground. 



715 — Bowl and Plate. 

Old crown Derby (1780). Fluted pattern, rich blue bands, with borders in gilding. 



71G — Covered Bowl and Plate. 

Old crown Derby (1780). Fluted pattern, rich blue bands, with borders in gilding. 

717 — Cups and Saucers. 

Old crown Derby (1780). Similar to the preceding. Twenty-four pieces, consisting 
of eight cups with handles, eight cups without handles, and eight saucers. 

718 — Two Cups and Saucers. 

Old crown Derby (1780). Ivory-white texture, with decoration of vine and scroll 
borders pencilled in gold. 

719 — Individual Chocolate Service. 

Capo-di- Monte soft paste. Finely painted decoration of Pompeii views, with borders 
and ornaments in gilding. Comprises tray, chocolate pot, cream pitcher, sugar 
bowl, and cup and saucer. 

720 — Ten Salad Plates. 

Scalloped edge. Fainted and relief decoration of rosebuds, foliage, and butterflies. 

Diameter, 8 inches. 

721 — Twelve Dresden Plates. 

Pure white hard paste. Sprays of tulips painted in green enamel. Openwork borders. 

Diameter, 9 inches. 

722 — Twelve Dresden Plates. 

Pure white hard paste of the Marcolini period (1796). Floral bouquets delicately 
painted in enamels. Openwork basket pattern borders. 

Diameter, 9 inches. 

723 — Fifteen Dessert Plates. 

Old crown Derby (1780). Richly decorated flowers in medallions. Blue and gold 
borders. 

Diameter, 8 inches. 

724 — Fifteen Dinner Plates. 

Old crown Derby, to match the preceding. 

Diameter, 10 inches. 



725 — Covered Saucer, Tureen, and P latter. 

Old crown Derby, made under Director Bloor (1830). Rich plumaged birds finely 
painted, in medallions. Rich blue borders, and leaf scrolls in gilding. 



726 — Oval Fruit Dish. 

Old crown Derby, made under Director Bloor (1830). Rich plumaged birds finely 
painted, in medallions. King's blue borders, with leaf scrolls in gilding. 

727 — Old Dresden Chocolate Pot. 

Pure white texture. Pastoral subjects and flora! sprays finely painted in rose-color 
enamel. Incised mark, Augustus Rex, 1709-1726. 

728 — Old Dresden Chocolate Cups and Saucers. 

Set of six, to match the preceding. King's period, 1770. 

729 — Old Dresden Tea Set. 

Consisting of teapot, covered pitcher, sugar bowl, and tea caddy. Pure white texture. 
Finely painted decoration of pastoral subjects and detached flowers in rose- 
color enamel. King's period, 1770. 

730 — Old Dresden Tea Cups and Saucers. 

Eleven pieces, to match the preceding. King's period, 1770. 

731 Old Dresden Bowl and Tray. 

King's period, 1770. Finely painted decoration of pastoral subjects in rose-color 
enamel. 



732 — Pair Covered Jars. 

Cylindrical shape. Pure white porcelain. Decoration of branches of pomegranate,cherry 
blossoms, chrysanthemum, and lilies, in brilliant enamels and gilding, in the style 
of old Imari. Coat of arms in coral red, king's blue, white, and gilding. 

Height, Ski inches. 

733 — Majolica Jar. 

Old Italian. Oviform. Decoration of medallion head and bold leaf scrolls in brilliant 
blue, green, and orange-yellow enamels. 

Height, 10 j£ inches. 



734 Majolica Water Jar. 

Old Italian. Oviform, with twisted top handle. Cream-white glaze, with decora- 
tion of medallion head, cornucopias of fruit, and escutcheon in dark blue, 
green, and orange yellow enamels. 

Height, ii inches. 

735 — Antique Delft Garniture. 

Consisting of three hexagonal oviform jars with covers, and two beakers. Decora- 
tion of pastoral and other subjects in cobalt blue; flowers in red and green; and 
borders of leaf scrolls worked in relief in the paste, and enamelled in orange 
yellow and purple. Mark underneath foot, initial K within a C, pencilled in red. 

736 — Antique Delft Garniture. 

Consisting of three hexagonal-form covered jars and two beakers. Decoration of 
houses, lake, and figures in blue, green, brown, and orange yellow. Mark 
underneath foot, " De Drie Klokken," 1671. 



737 — Large Canton Punch Bowl. 

Sonorous texture. Decoration of Chinese interior and garden scenes in brilliant 
enamels and gilding. Borders and bands of birds, flowers, and fruits on gold 
ground. Carved teakwood stand. 

Diameter, 16 inches. 

738 — Thirteen Dresden Plates. 

Pure white hard paste. Pastoral subjects, finely painted in centres. Openwork and 
gilt borders. 

Diameter, <)% inches. 

739 — Thirteen Old Sevres Plates. 

Pate tendre. The decoration of floral medallions, and blue, maroon, and gold bor- 
ders, are by the following Sevres decorators: Bulidon, Massy, Niquet, Paul 
Richard, Chavaux, Tandart, Choisy, Buteux, and Vincent. Various marks of 
the royal factory, dating from 1783 to 1788. 

Diameter, 10 inches. 

740 — Three Large Imari Plates. 

Decoration of vase of flowers and leafy scrolls, in brilliant cobalt blue and coral red, 
enhanced by gilding. Mark underneath foot, two circles and leaf symbol, in 
blue. 

Diameter, 15 inches. 



Antique Silver 



741 — Five Old Dutch Silver Salt Spoons. 

Figure ornaments on handles. 

742 — Eleven Dutch Silver Teaspoons. 
Apostle handles. 

743 __ Six Old Dutch T easpoons. 

Silver and gilt. Mask head and openwork ornamentation. 

744 — Three Dutch Silver Spoons. 
One pierced pattern. 

745 — . Two Antique Dutch Silver Spoons. 
One dated 1790. 

746 Two Old Dutch Silver Spoons. 

Figure ornament and twisted handles. 

747 Two Antique Dutch Silver Table Spoons. 

Apostle figure ornaments. 

74g Three Old Dutch Silver Sauce Ladles. 

Handles surmounted by figures of saints. 

749 Twelve Old Dutch Silver Spoons. 
Apostle handles. 



750 — Antique Dutch Silver Punch Ladle. 
A one-mark coin of 1686 inserted in bowl. 

751 — Antique Dutch Silver Ladle. 

Coin of King Christian IV., date 1647, inserted in centre of bowl. 

752 — Antique Dutch Silver Punch Ladle. 
Repousse bowl. Chased handle. 

753 — Antique French Spoon. 

Silver gilt. Repousse ornamentation. 

754 — Three Antique Irish Silver Spoons. 

Shell bowls and long pierced handles. Hall mark, Dublin, 1797. 

755 — Twelve Russian Liqueur Cups. 

Silver gilt. Engraved and enamelled ornamentation. 

756— Old Dutch Silver Box. 

Heart shaped. Engraved ornamentation. Compartment in base. 

757 — Child's Old English Silver Cup. 
Engraved initials. Date undecipherable. 

758 — Antique English Silver Milk Jug. 

Design of cow. Hall mark, 1 761. 

759 — Antique Irish Silver Box. 

Round shaped, with hinged lid. Repousse cottage and trees. Hall mark, 1796. 

760 — Antique English Silver Beaker. 

George II. Engraved floral and foliated scrolls. Hall mark, 1729. 



761 Washington Centennial Medal. 

1789 to 1889. Designed by Augustus St. Gaudens. Modelled by Phillip Martiny. 



762 — Pair English Silver Tea Caddies. 

Oval shaped. Engraved foliated bands. Hall mark, 1807. 



763 — Old Dutch Silver Tray. 

Leaf shaped. Pastoral subject in repousse, and chased. 

7G4 — French Silver Sugar Bowl. 

With cover and two handles. Repousse floral festoons. Leaf-shaped feet. 

765 Old English Silver Beaker. 

Bold repousse ornamentation. Hall mark, London, 1696. 

760 — Two Russian Silver Mugs. 

Palm-leaf and floral ornamentation. Gilt lined. 

767 — Antique English Sugar Basket. 

Openwork floral and vine design. Hall mark, 1769. With crystal glass bowl. 

768 — French Silver Mustard Pot. 

Empire. Openwork and relief ornamentation. Blue glass bowl. 

769 Antique French Silver Sugar Bowl. 

First Empire. Openwork and engraved ornamentation. Sapphire-blue glass bowl. 

77O Irish Silver Sugar Basket. 

With swinging handle. Foliated scrolls in openwork. Sapphire-blue glass bowl. 

77I Antique Dutch Silver Sugar Bowl. 

Oval shaped, with cover and two handles. Openwork and repousse ornamentation, 
nymph and satyr, floral festoons, and allegorical designs. Blue glass bowl. 



772 Antique Dutch Silver Sugar Sifter. 

TJ r n shaped. Engraved and repousse ornamentation. 



773— Old India Silver Dish. 

Round shaped. Bold repousse and chased ornamentation. Buddhistic and other 
symbols. 

Diameter, 6 inches. 

774 — Antique English Silver Tea Caddy. 

Bold repousse ornamentation of figures, cottage, leaf, and shell patterns. Hall 
mark, 1765. 

775 — Pair Old English Tea Caddies. 
To match the preceding. Hall marlc, 1765. 

776 — Old English Silver Teapot. 

Globular shaped, with wood handle. Floral ornamentation in repousse, chased. Hall 
mark, 1759. 

777 — Irish Silver Loving Cup. 

With two handles. Repousse floral and fruit festoons. Gilt lined. Hall mark and 
initial of maker. 

Height, 6 inches, 

778 — Irish Silver Sugar Dish and Cover. 

Engraved and openwork ornamentation. Oval shaped, with two handles. Blue 
glass bowl. 

779— — Japanese Silver Teapot. 

With top swinging handle. Engraved floral medallions. 

780 — English Silver Bowl. 

Repousse ornamentation of foliated festoons and fluted pattern. Gilt lined. Hall 
mark, 1853. 

781 — Old Dutch Silver Cream Jug. 

Engraved ornamentation. Figures, foliage, and coat of arms in panels. Grapevine 
band. 



782 — Antique Irish Silver Sugar Sifter. 

Repousse ornamentation. Hall mark, Dublin, 1727. 



783 — Japanese Stiver Teapot. 
Fluted pattern. Enamelled lid. 

784 — Antique Irish Silver Large Bowl. 

Round shape, on tripod support of lion's head and claw. Repousse spiral ornamenta- 
tion. Hall mark, Dublin, 1728. 

78") — English Silver Chocolate Pot. 

With side handle. Repousse and chased ornamentation. 

786 — Seventeenth Century Jewish Lamp. 

Silver. Scandinavian. Repousse ornamentation. 

787 Queen Anne Silver Loving Cup. 

With two handles. Repousse ornamentation. Dated 1709. 

7g8— Old Dutch Silver Bowl. 

Repousse leaf-pattern borders and band. 

7gg . Antique English Silver Bowl. 

Round, with raised ornaments. Dated 1768. 

79O Old English Silver Teapot. 

Oval shaped, with wood handles. Figure of dog surmounting cover. Hall mark 
undecipherable. 

79 \ . Antique Turkish Silver Wine Bottle. 

Elaborate repousse and chased ornamentation of sacred flowers, birds, and animals; 
openwork band round foot. 

792 — Antique Irish Silver Large Coffee Pot. 

Elaborate repousse ornamentation of pastoral subject, fruits, floral festoons, and leaf 
scrolls; and engraved coat of arms. 

793 ___ Pair Antique English Silver Sconces. 

Each for three lights. Bold repousse ornamentation. Dated 1736. 



794— Old English Silver Dish Cross. 
Hall mark, 1754. 

795 _ Old Dutch Silver Bowl. 

Oval shaped, on foot. Repousse ornamentation of Biblical subjects. Two openwork 
handles of urn design. Gilt lined. 

790- Old English Silver Tray. 

Round shaped, on three feet. Engraved floral scrolls and crest. Leaf-pattern border. 
Mark, Queen Victoria head. 

Diameter, 10 inches. 

797 — Antique Irish Silver Fruit Dish. 

Round shaped. Repousse leaf and flora) scrolls. Dated 1742. 

798 — Antique Irish Silver Fruit Dish. 

To match the preceding. Dated 1742. 

799 — Old English Silver Tray. 

Round shaped, on three feet. Engraved floral scrolls and crests. Foliated scroll edge. 
Mark, Queen Victoria head. 

Diameter, 10 inches. 

800 — Antique Dutch Silver Tripod Stand. 

With vase holder in centre. Repousse ornamentation of cupids, mask, and floral and 
leaf scrolls. 

801 — Antique English Silver Loving Cup. 

Low, round shape, with two handles. Repousse bands of leaf designs. Dated 1 765. 

802 — English Silver Round Tray. 

Repousse and chased centre, and foliated scroll edge. 

Diameter, 11 inches. 

803 — Antique Irish Silver Round Tray. 

On three feet. Chased floral and leaf scrolls, and coat of arms. Scroll edge. 

804 Pair Antique Irish Silver Tall Candlesticks. 

Repousse leaf and other ornamentation. 



805 — Antique Dutch Silver Oval Plaque. 

Bold repousse ornamentation of mythological subject in centre, and an outer border of 
scrolls, medallions, and other designs. 

Length, 20 inches. 

806 — Pair Old English Silver Candlesticks. 

Tall column designs. Repousse floral ornamentation. Dated 1770. 

807 — Antique Irish Silver Large Bowl. 

Fluted pattern. Gilt lined. Dated 1752. 

808 — English Silver Oval Tray. 

With two handles. Engraved and repousse leaf borders. Beaded edge. 

length, iq inches. 

809 — Augsburg Silver Flagon. 

Sixteenth century. Elaborate repousse and chased ornamentation of historical subjects 
and foliated scrolls. Cover surmounted by figure of a kneeling angel and a 
helmet. Gilt lined. 

810 Augsburg Silver Flagon. 

Companion to the preceding. 

811 Antique Irish Silver Bible Cover. 

Elaborate repousse ornamentation of floral scrolls. 

812 Elaborate Irish Silver Epergne. 

With four arms and five baskets, the larger one of pierced design. Mark of a crowned 
harp and Hibernia mask. 1730— 1792. 



813 — Dutch Silver Round Tray. 

On six feet. Pierced gallery border. 



814 — Hammered Copper Tray. 

Broad outer border of openwork leaf scrolls, oxydized. 



Diameter, 17 inches. 



Length, 24 inches. 



815 Twenty-four Dessert Knives and Forks. 

Silver gilt. Blue and white Dresden porcelain handles. With case. 

Diameter, 23 inches. 

816— Twelve Fruit Knives. 

English silver gilt. Dresden porcelain handles. 



FIFTH AFTERNOON'S SALE 
Thursday, January 29th, 1903 



BEGINNING PROMPTLY AT 3 O'CLOCK 



^Antique Greek and Roman 

Glass 



The well-known story of the discovery of glass by nitre merchants of Tyre, who 
accidentally fused some of their merchandise with the sand of the river bank on which 
they were cooking their dinner, has long since been set aside as itself an ingenious but 
baseless invention. Glass was preceded and led up to by glazed pottery and glazed stone 
in Egypt, in the neolithic period, and this art of glazing followed upon that of smelting 
copper, the oldest colors in glazes and in glass being copper blue, and green, with violet 
from the manganese which is found in the copper one. These glazes precede the historic 
period in Egypt on beads and other small objects. Blown glass vessels (Egyptian) are 
known from a very early period. We must assign to the fifteenth or sixteenth century 
b.c. the opaque blue glass, the kyanos of the Homeric poems, which Schliemann found 
set in alabaster to decorate a frieze in the ruins of the palace at Tiryns. 

Throughout classic antiquity, however, the great manufactory of glass was at 
Tyre and it is probably from that neighborhood that most of the specimens in our col- 
lections have been derived. But antique glass of the well-known classic forms has been 
found in all parts of the ancient Roman dominions, from Britain to Syria. The light 
greenish glass marked by a fine pearly or silvery iridescence, as in the oblong tubular, or 
candlestick-shaped, unguentaria, is usually found in Greek tombs of the fifth to the third 
century B.C. Moulded glass, though known to the Greeks, is more commonly Roman. 



But moulded glass was also common in Byzantium, whence the art passed to the Persians. 
Not the least of the fascinations of glass collecting is that the history of the art is still, 
comparatively, a new study, in which every student may hope to make discoveries. 

The splendid iridescent colors that add so much beauty to antique glass are a con- 
sequence of its flaky or scaly disintegration, resulting from the action of moisture perco- 
lating through the soil in which it has lain buried. This iridescence is different from the 
metallic reflections on modern glass, which have been brought to the highest perfection 
by an American artist. The varying lustres of Persian and Hispano-Moresque pottery 
are of still another kind, but a true iridescent disintegration of the glaze is sometimes 
found on very ancient pottery. 

In the collection presented by Mr. Marquand to the Metropolitan Museum of Art 
will be found important examples, with inscriptions, of Greek, Roman, and Byzantine glass. 



817 — Three Small Unguentaria, or Perfume Bottles. 

One tubular, with conical bulb and flaring mouth, of greenish glass, slightly irides- 
cent. Another similar, but with flattened rim. Amber glass with brilliant violet, 
green, and silvery iridescence. The third has an annular body, a swelling neck, 
and flattened rim, and is of dark blue glass with a silvery iridescence. 

818 — Small Unguentarium. 

Club shaped, with flaring mouth. Amber glass with rose-colored, golden, and green 
iridescence. 

819 — Small Jug {Prochoos). 

Greenish glass, the lower part coated with brownish sediment. It has a flaring 
mouth, a handle connecting the mouth with the body, a band in relief about the 
neck, and a flat bottom. 

820 — Small Unguentarium [Ampulla). 

Corrugated to represent the appearance of a dried date. Amber glass, deepening to 
a rich brown, with a silvery and purple iridescence. 

821 — Two Small Unguentaria. 

One of blue glass, baluster shaped, decorated with a spiral white line on the exterior. 
The other, amphora shaped, with a fluted body. Purple glass with green, blue 
and purple iridescence. One handle missing. 

822 — Small Unguentarium. 

With conical body, short neck, and flaring mouth. Very rich iridescence of silver}' 
green, orange, and other colors. 

823 — Small Unguentarium. 

Bulbous shape. Dark blue glass with blue iridescence. 



824 — Small V ase and Small Unguentarium. 

The former of turquoise-blue glass with golden iridescence. The latter, with large body 
and flattened rim. Amber glass with silvery iridescence. 

825 — Unguentarium. 

Club shaped, with flaring mouth. Amber glass with violet and green iridescence. 

Height, 6% inches. 

826 — Small P roc hods. 

With globular body and wide, flat rim. Greenish glass with slight iridescence. 

827 — Small Amphora. 

Green glass with brilliant green, golden, and violet iridescence. 

828 — Ampulla. 

Moulded glass, in the shape of two heads — a beardless male and a female head (Bacchus 
and Ariadne). Mottled brown and white glass. 

Not many of these interesting little ointment bottles are known. They are 
believed to have been made to be given as wedding presents. 

829 — Unguentarium. 

Club shaped, with a swelling at the base of the neck. Rich green iridescent glass. 

Height, 4 inches. 

830 — Small Vase. 

With ribbed handle, and rich golden, silvery, and blue iridescence. 

831 — Small Vase. 

With a conical body and flattened rim ; of deep blue glass. Ornamented in the thickness 
of the glass with irregular vertical streaks of white. It has a green and purple 
iridescence on the blue, silvery and coppery on the white. 

832 — Small Ewer. 

With spout and handle. Clear glass with pearly iridescence. It is ornamented with 
three denticulated ribs on the exterior. 



833 _ Unguentarium. 

With conical body and broad, flat rim. Greenish glass with pearly iridescence. 



834 — Double Unguentarium. 

With handles at sides and top. Greenish glass with a pearly iridescence. 

Height, to the top of the handle, sX inches. 

835 ■ — Double Unguentarium. 

With a handle at top. Decorated with a spiral filament on the exterior, and with trailed 
glass connecting the body with the projecting rim. Olive-green glass with a 
pearly iridescence. 

Height, b'/i inches. 

836 — Bowl. 

Bluish glass with a silvery iridescence. 

Height, 2# inches. 

837 — Unguentarium. 

With a globular body, short neck, and flaring mouth. Greenish glass with silvery and 
blue iridescence. 

838 — Unguentarium. 

With long, swelling neck and flaring mouth. Greenish glass with violet and silvery 
iridescence. 

Height, inches. 

839 — Unguentarium. 

Candlestick shaped — that is to say, with flattened (sometimes conical) body — tall neck, 
and flaring or flattened mouth. Clear glass with pearly iridescence. 

Height, 8 inches. 

840— Vase. 

With flaring mouth. Greenish glass, decorated with applied twisted filaments of glass 
trailed to form a pattern of ivy leaves and stems. Some small glass vases in the 
British Museum, decorated with this pattern, were found at Cologne. 

Height, sH inches. 

841 — Unguentarium. 

With conical body, thick neck, and applied rim. Greenish glass with silvery and green 
iridescence. 

842 — Two Single Unguentaria. 
Candlestick shaped, with pearly iridescence. 

Height, 6>$ inches. 

843 — Bowl. 

Amber glass with very rich violet, green, and orange iridescence. 

Width, 4 inches. 



844 — Unruentarium. 

Candlestick shaped, with pearly iridescence. 



Height, ;V inches. 



845 — Two Unguentaria. 

Candlestick shaped; one with rich golden, the other with blue and green, iridescence. 

Height, 1% inches and b% inches, respectively. 

846 — Unguentarium. 

Candlestick shaped, with rich pearly iridescence. 

Height, 7 inches. 

847 — Phiale. 

Shallow cup for libations. Ribbed on the shoulder. Greenish glass with a slight 
iridescence. 



848 — Two Unguentaria. 

Candlestick shaped, with a pearly iridescence. 

849 — Unguentarium. 

Candlestick shaped, with a pearly iridescence. 

850 — Two Unguentaria. 

Candlestick shaped, with a pearly iridescence. 



Height, 1% inches and 7>£ inches. 



Height. 7 inches. 



Height, 7j^ inches and 6ji inches. 



851 — Conical Bowl. 

Olive-green glass with rich green iridescence on the outside, violet inside. 

Width, 4}4 inches. 

852 — Dish. 

With an umbilicus, or boss, in the centre, and an applied ring round the foot; the rim 
turned up. Clear glass, speckled all over with a varicolored iridescence. 

Width, i)4 inches. 

853 - Two Candlestick-shaped Unguentaria. 

With pearly iridescence. 

Height, b% inches. 

854 — Two Candlestick-shaped Unguentaria. 
Similar to the foregoing ; with pearly iridescence. 

Height, 7 inches. 



855 — Deep Conical Bowl. 

With thick rim and very rich varicolored iridescence. 

Width, inches. 

856 — Two Candlestick-shaped Unguentaria. 
With pearly iridescence. 

Height, 7 inches and b% inches. 

857— PMaU. 

Similar to 847. Ribbed on the shoulder. Rich silvery and violet iridescence. 

Width. 4^ inches. 

858 — Deep Bowl. 

With flaring rim. Clear glass with varied iridescence. 

Width, 3 inches. 

859 — JJnguentarium. 

Candlestick shaped. Fine pearly iridescence. 

Height, b% inches. 

860 — Two Unguentaria. 

Similar to the foregoing. One slightly damaged. 

Height, 7# inches and 6 inches. 

86 1 — Two Bowls. 

One of greenish glass, with thin projecting ribs on the shoulder. The other of thick 
amber glass with very rich iridescence. Both damaged. 

862 — Two Candlestick-shaped Unguentaria. 
With pearly iridescence. 

Height, 6^ inches. 

863 — Tall Bowl. 

With four deep indentations in the sides, typical of a form which has been transmitted 
by the Venetians to the present time. Varied iridescence. 

Height, 3^ inches. 

864 — Two Candlestick-shaped Unguentaria. 
With slight iridescence. 

Height, bft inches. 

865 — Bottle. 

Thick glass, with a large body and short neck. Very rich pearly and gray iridescence. 

Height, b)i inches. 



866 — Bottle. 

Similar to the foregoing, but with a long neck and more varied iridescence. 

Height. (j% inches. 

867 — Deep Dish. 

With umbilicus in the centre. Rich purple and green iridescence. The friable, 
earthy incrustation should not be removed, as it forms a dark background which 
shows up the colors of the iridescence. 

Width, 7# inches. 

8G8 — Amphora. 

Bluish glass, with a rich frosted golden, coppery, and silvery iridescence. 

Height. inches. 

m§ — Bottle. 

Similar to 865 and 866. Thick olive-green glass, with a very rich iridescence in 
blue, green, and other colors. 



Antique Glass 

Persian, Spanish, Venetian, and French 

The golden cup of Chosroes I.,* set with "amethysts, rubies, and emeralds" of 
moulded glass, now in the Bibliotheque Nationale at Paris, should, perhaps, be regarded 
as a specimen of Byzantine, rather than of Persian, glasswork. But, in any case, it may 
be referred to as a connecting link between the art in glass of Greece and Rome and that 
of Mahometan Persia. The latter was at its best from the thirteenth to the seventeenth 
century. Towards the end of the period Persian and Arabian forms were copied in 
Venice, whence they were exported to the Orient, and, as a consequence, the native 
manufactures languished. It is not difficult, as a rule, to distinguish the older Persian 
productions from the Venetian imitations, though in collections they are often confounded. 
The Persian blue, which appears on their faience and porcelain, as well as in their glass, 
is of a peculiarly soft and pleasing tone, which even the Chinese have failed to success- 
fully imitate. 

Old Spanish glass was also indirectly affected — through the Moors — by forms 
of Persian invention. But it is much heavier, and its decoration and proportions are 
markedly characteristic It is little known and of great rarity. The British Museum 
has some examples, and a few will be found in the Moore Collection in the Metropolitan 
Museum of New York. 

Good examples of French seventeenth century glass are exceedingly rare, the wars 
of the Fronde having greatly interfered with the development of the art in France. 

A few pieces of peculiar shape and texture are here classed as Rhodian, following 
the authority of the late Dr. Hall. 

870 — Small Goblet. 

Roughly fluted, with a spiral twist to the flutings. Greenish glass. Probably French. 

Height, 2% inches. 

871 — Cup. 

With two handles. Bluish glass; handles of clear class. Venetian. 

Width, 3V inches. 

• Chosroes the Great, as he is called by the national historians, ruled over Persia from 531 

to 579 A.D. 



872 — Bird-shaped Vessel. 

With openings at beak and tail. Three feet and corrugated projecting wings. Thick, 
greenish glass. Lengthi 4 inches 

The form is known chiefly in Venetian glass of the sixteenth and seventeenth 
centuries, when, as a French traveller of the period puts it, the Venetians were 
accustomed to drink "gondolas and ships of wine, . . . a bird, a whale, a lion, all 
sorts of beasts, potable and non-potable." But the fancy soon spread to other countries. 

873 — Vase. 

With four handles and large, flaring neck. Decorated on neck and body with a spiral 
filament in relief, and on the lower part of the body with an ornament character- 
istic of this ware, consisting of one or more lines in relief, with festoons below, 
and reversed festoons above. The handles are denticulated. Spanish. Sixteenth 
century. 

Height, 5# inches. 

874 — Vase. 

With tall, flaring neck. Decorated with a zigzag band in relief. Yellowish clouded 
glass. 

Height, t>% inches. 

875 — Vase. 

Amber glass, with a small handle attached to a ring of darker color about the lower 
part of the neck, and by a denticulated strip of the same to the body. The spout 
has winged appendages near the mouth. The glass is rough and of heavy texture, 
with strife and small bubbles. Persian. 

Height, 6 inches. 

gl^^Wine Glass. 

Of elegant shape. Thin, clear glass, with a beaded stem and flat foot. Venetian. 

Height, $% inches ; width, 4# inches. 

877 — Vase. 

With baluster-shaped body, two handles, and flaring neck, with a spiral filament about 
the neck ; the body decorated with a denticulated band in relief ; the base marked 
with indentations. Spanish. 

Height, 6 inches. 

878 — Ewer. 

With a small handle, and winged appendages to the spout, as in 875, but of deep blue 
glass bearing traces of a surface decoration in gold. Persian. 

Height, 6# inches. 

879 — piask. 

Lenticular, with shallow flutings running from the neck part way down into the body, 
and two small handles terminating in long denticulated strips attached to the 
narrow sides of the flask. Greenish glass, full of small bubbles, and showing a 
blue and green iridescence. Spanish. 

Height, 1% inches. 



880 — Bottle. 

Of cylindrical body. Decorated in lozenge pattern in relief, blown in a mould. Clear 
glass. French. Seventeenth century. 

Height. b% inches. 

881 — Vase. 

With baluster-shaped body and tall, flaring neck. Decorated with a spiral filament in 
relief and a twisted ring about the lower part of the neck. Blue glass. Persian. 

Height, 6 inches. 

882— Two-handled Flask, or Bottle. 

The handles prolonged into denticulated strips. Yellow glass with many bubbles. 
Spanish. 

Height, 5 V inches. 

883— Vase. 

With baluster-shaped body and tall, flaring neck. A rough band in relief about the neck. 
Smoky olive glass. 

Height, <>% inches. 

884 — Ewer. 

With small handle and winged appendages to the spout, similar to 875, but with a cir- 
cular foot added. Blue glass. The handle and the ring about the neck of a darker 
blue than the body. Persian. Height b% 

These forms are often classed as Venetian, but examples of which the provenance 
is known are Persian. See the catalogue of the Burlington Fine Arts Club's Exhibi- 
tion of Persian Art, 1885. 

885— Vase. 

With baluster-shaped body and tall, flaring neck. Light greenish-yellow glass. Persian. 

Height. 6'yi inches. 

S8Q— Vase. 

With two handles. Baluster-shaped body and large, flaring neck. Greenish glass. 

Height. t% inches. 

887 — Vase. 

With baluster-shaped body and tall, flaring neck. Decorated with a spiral filament in 
relief and a twisted band about the neck. Similar to 881. Persian. 

Height, i>% inches. 

888— Flower Glass. 

Of elongated bell shape, with a hollow stem and thick foot. Emerald-green glass. 
Persian. 

Height, 6# inches. 



889 — Ewer. 

Of Persian form, without a foot. Greenish-yellow glass with many bubbles. 

Height, i>% inches. 

890— Vase. 

With baluster-shaped body and tall, flaring neck. Greenish-yellow glass. Persian, 

Height, b% inches. 

891 — Vase. 

With four handles and large, flaring neck. The handles are ornamented with "wings," 
and denticulated; the body with the characteristic festoon ornament about the 
shoulder, and two narrow bands in relief passing under the handles; the foot 
indented spirally. A very interesting example. Spanish. 

Height, 6j£ inches. 

892 — Ewer. 

With a small handle, the mouthpiece of the spout lacking. Olive-green glass. Persian. 

Height, 8# inches. 

893— Jug. 

Of elegant form, with a small spout and ribbed handle; the body decorated with four 
long vertical strips of denticulated glass, the base surrounded by a ring of the same. 
Clear glass. Bubbled. 

Height, %% inches. 

894 — Vase. 

With baluster-shaped body and tall, flaring neck. Two rings in relief on the lower part 
of the neck. Yellowish-olive glass. Persian. 

Height, 8 inches. 

895 — Ewer. 

With flat foot and very short neck, large handle, and long spout. Greenish-yellow 
glass, iridescent. Persian. 

Height, ^y^ inches. 

896 — Ewer. 

With baluster-shaped body and tall, flaring neck. The small handle is attached to a 
twisted band about the neck, and prolonged into a denticulated strip attached to 
the body. The spout has the usual winged appendages. Dark blue glass, deco- 
rated on the surface with flowers and leaves in gold. Persian. 

Height, 7^ inches. 

897 — Bottle. 

For sprinkling rose-water. With a very long, tapering neck and a small orifice. A band 
in relief about the lower part of the neck, and a flat foot. Clear glass. Persian. 

Height, II % inches. 

Though intended for sprinkling, these bottles were sometimes used to drink out 
of, as may be seen in thirteenth century Persian miniatures. So also were the ewers ; 
but it was etiquette not to touch the lips to the spout. 



898 — Tall Conical Bottle. 

Slightly fluted, with an abortive handle pinched in the soft glass, and a large moulding 
round the short neck. Bluish glass. Rhodian. 

Height, 7j£ inches. 

899 — Vase. 

With baluster-shaped body, conical foot, and flaring neck ; a twisted band about the 
lower part of the neck. Greenish glass, with large bubbles, showing decided 
iridescence. Persian. 

Height, 8^ inches. 

900— Vase. 

With baluster-shaped body, conical foot, and flaring neck, similar to the foregoing, but 
of amber glass. Persian. 

Height, g% inches. 

901 — Bottle. 

With bulbous body, conical foot, and long neck, terminating in a wide mouth. Neck 
and body have fine, wavy flutings. Slightly greenish glass, with marked irides- 
cence. Persian. 

Height, 9% inches. 

902— Vase. 

With baluster-shaped body and tall, flaring neck. Blue glass. Persian. 

Height, 9 V i 

nches. 

903 — Bottle. 

With bulbous body, conical foot, and long neck terminating in a wide mouth. Neck 
and body have fine, wavy flutings. Greenish glass, with slight gilding. 

Height, 9 }4 inches. 

904— Vase. 

With baluster-shaped body and tall, flaring neck. Ornamented with a spiral filament in 
relief about the mouth, and a twisted band about the neck. Blue glass, with 
wavy lines of a darker color. Persian. 

Height, 9% i 

nches. 

905 — Bottle. 

For sprinkling rose-water. With very long, tapering neck, similar to 897, but of pinkish 
glass. Persian. 

Height, 9 j£ inches. 

906— Tall Bottle. 

With bulbous body, long, twisted neck, and broad, flattened rim. Blue glass with very 
marked iridescence. Persian. 

Height, 11 # inches. 



907 — Vase. 

With swelling body and flaring neck ; a twisted band about the neck. Yellowish glass. 
Persian. 

Height, <)% inches. 

908 — Drinking Vessel. 

Shaped like a segment of a horn, with a spiral filament in relief about the top; a thick 
handle and flat foot. Spanish. 

Height. b\( inches. 

909 — Bottle. 

With bulbous body and long neck, both marked with fine spiral flutings. Blue glass, 
with beautiful blue and green iridescence. Persian. 

Height, 10^ inches. 

910 — Bottle. 

With bulbous body, conical foot, and long neck, terminating in a flaring mouth. The 
body was made in two pieces joined by a flange which projects into the interior. 
Slightly yellowish glass. Persian. 

Height, I2>£ inches. 

911 — Two-handled Drinking V essel. 

With a bulbous body and large, flaring, five-lobed mouth. Decorated with a fine spiral 
filament in relief. Greenish glass with minute bubbles. Spanish. (Damaged.) 

Height, T$ inches. 

912 — Bottte. 

With bulbous body and long, swanlike neck twisted into a fine spiral. Blue glass; 
iridescent. Persian. 

Height, 14 inches. 

918 — Vase. 

With baluster-shaped body and tall neck, with trumpet-shaped mouth. A spiral filament 
in relief surrounds the mouth, and a twisted band the neck. Blue glass. 
Persian. 

Height, 9^ inches. 

914 — Bottle. 

For sprinkling rose-water. With long, twisted tapering neck. A band in relief about the 
lower part of the neck, and a flat foot. It is of blue glass with a slight irides- 
cence. In the interior, at the bottom of the bottle, are flowers in relief, in pink, 
blue, and white glass, a fancy which was later copied by the Venetians. Persian. 

Height, 14 inches. 

915 — Vase. 

With tall, flaring neck, bulbous body, beaded stem, and nearly flat foot. In the interior 
are flowers in relief, as in the foregoing. Slightly yellowish iridescent glass. 
Persian. 

Height, 12 inches. 



91G — Bottle. 

With long, swanlike neck, similar to 912. Blue glass, slightly iridescent. Persian. 

Height, 14 j£ inches. 

917 — -Four-handled Drinking Vessel. 

With a nearly spherical body and a large, flaring, four-lobed mouth. Decorated with a 
fine spiral filament in relief. Spanish. 

Height, 9X inches. 

918 — Large Club-shaped Bottle. 

With a knob of glass on the inside, attached to the conical reentrant bottom. Clear 
glass, slightly iridescent. Persian. 

Height, 16 inches. 

919 — Swan-necked Bottle. 

With vertical mouth. Similar to 916, but of yellowish iridescent glass. Persian 

Height, 17 inches. 

920 — Fifteen Small Pieces and One Large Fragment of Iridescent Glass. 

Greek, Roman, Byzantine. 

921 — Bracelet. 

Of eight beads of mosaic glass. The patterns, zigzags, flowers, and other ornamentation 
are like those on objects from Greek graves in the Fayoum, of the third and fourth 
century, a.d. 

922 — Small Scent Bottle and Flask. 

Bottle of pressed glass. Ornamented on the one side with a crown and three fleurs-de-lis 
between crossed branches; and on the other, also between crossed branches with 
two flaming hearts, and a third from which grows a lily plant in flower. Deep 
blue glass, the mouth silver mounted. France. Seventeenth century. Flask 
almond shaped. Decorated with two strips of denticulated glass down the 
sides. A Spanish or French imitation of an antique form. 

A series of five of these pretty little flasks, impressed with various designs is in 
the Metropolitan Museum, where they are classed as Venetian. This design is' illus- 
trated by Gerspach in " l'Art de la Verrerie," where it is given as ascribed to Bernard 
Perrot, brevetted by Colbert " Maitre de Verrerie " at Orleans for his inventions in 
glass-making. 

923 — Elegant Small Vase. 

With "wing" handles, and a conical neck tapering gradually to a band from which it 
opens out into a flaring top. Venetian. 

Height, s inches. 



924— Three Small Wine Glasses. 

Blown in a mould. Decorated with lozenge, pattern ; with a twisted stem and conical 
foot. Similar glass in the Musee de Cluny is classed as French of the seventeenth 
, century. 

925 — Smau Barrel. 

To hold a sauce or condiment. It is decorated in white and red enamel, on greenish glass, 
with a scale pattern in lengthwise stripes, to imitate the staves and the grain of the 
wood. The ends are hooped with corrugated glass. It has a biberon and handles 
in light yellow glass. These enamelled barillets are usually classed as Venetian 
of the sixteenth or seventeenth century. 

Length, v., inches. 

926 — Drinking Vessel. 

Shaped like a segment of a horn, flattened on the sides, and decorated with a spiral fila- 
ment in relief, and with the double festoon about the base. Bright green 
glass. Spanish. 

Height, 4% inches. 

927 — Flask. 

Almond shaped, with two handles prolonged in denticulated bands along the narrow 
sides, also with rings hanging free in projecting loops. There were originally three 
of these rings on each side, but one on each side is missing. Green glass. 
Spanish. 

Height, inches. 

928 — Drinking V essel. 

Shaped like a segment of a horn, flattened at the sides, and with the double festoon 
ornament at the bottom. It has had two handles, which are lacking. Bright 
green glass. Spanish. 

Height, inches. 

929 — Flask. 

Of almond shape, with "wing" handles. Bears an inscription, "Pilante," in trailed 
glass about the shoulder. Spanish. 

Height, inches. 

930 — Small Barrel. 

With hoops of corrugated glass. Enamelled on deep blue glass with a scale pattern in 
red and white, as in 925. The pattern forms a rosette at one end. It has 1 
biberon and handles of blue glass. Venetian. 

Height, 4j4 inches. 

931 — Eight-sided Bottle. 

With flat bottom and rounded shoulder. Amber glass. Decorated in red and white 
enamels in a scale design in vertical stripes. Metal mouthpiece. Venetian. 



Height, t% inches. 



932 — Deep Cup. 

Very heavy dark blue glass, with a flaring border and a flat foot, marked with spirally 
arranged indentations. Fourteen small decorative handles connect the projecting 
rim with the body of the cup, which, near the bottom, is ornamented with the 
double festoon decoration. Spanish. 

Width, t>% inches. 

933 — Flask. 

Very light amber-colored glass, speckled with minute yellow bubbles. Rhodian. 

Height, 5J4 inches. 

934 — Tall Conical Bottle. 

With reentrant bottom. Light amber-colored glass. Rhodian. 

Height. 7% inches, 

935 — Ewer. 

With round body, S-shaped spout, and angular handle. Venetian. 

Height, 7V inches. 

936 — Eight-sided Bottle. 

With flat bottom and rounded shoulder. Decorated with a scale pattern in vertical 
stripes in red and white enamel on deep blue glass, similar to 931. It has a 
metal mouthpiece with a screw top. Venetian. 

Height. 6# inches. 

937 — Bottle. 

Shaped like a Persian rose-water sprinkler, but with a lipped mouth like an cenochoe 
and having the long, tapering neck sharply constricted at its junction with the 
bulbous body. Opaque red glass in imitation of jasper. Rhodian. 

Height. 1% inches. 

938 — Ewer. 

Club shaped, with S-shaped spout and handle. It is painted in oil colors on the ex- 
terior, with a diaper pattern in gold, the spaces filled in with flowers in red and 
white on a ground of blue gray. Two medallions reserved for other decoration 
are filled in with gold paint. The glass is greenish. Turkish or Persian. 

Height, Z% inches. 

939 — Ewer. 

Similar to the foregoing, and similarly decorated, but with the medallions bearing each 
a crescent and three stars in gold. Turkish, or Persian with Turkish sur- 
decoration. 

Height. 8^ inches. 



940 — Flask. 

Oblong oval shape, with two winged handles prolonged in denticulated strips along 
the narrow sides, and decorated on the broader sides with radiating strips of 
trailed glass; probably a rough representation of the palmer's shell embossed on 
more ancient leathern pilgrim bottles. Heavy green glass, full of bubbles. 
Spanish. 

Height, i 1 , inches. 

941 — Large Drinking Vessel. 

Shaped like a segment of a horn, with a reentrant bottom, and thick handles furnished 
with thumb-pieces. Decorated with a spiral filament in relief, and the double 
festoon pattern at the bottom. Greenish glass, bubbled. Spanish. 

Height, 6^4 inches. 

942 — Large Goblet. 

With a high, conical, reentrant bottom of fine blue glass. Decorated in colored 
enamels and gold in a broad band occupied by one circular and four oval medal- 
lions containing nude figure subjects derived from classical mythology. In the 
circular medallion are a female figure in a small gilded cart, and a male figure 
with a branch. In the ovals there are, in the following order: a female figure 
with a bow and arrows and a male attendant ; a female figure with a bow, and a 
serpent twined about a column; a male figure with a cornucopia; and a female 
figure with a leaping dog. Between the medallions the decoration consists of 
water plants in green, yellow, and red enamel. On each side of the principal 
decoration are jewelled borders, with, beyond them, at top, one row of pearls in 
white enamel, and at bottom two rows disposed in triangles. The rim is in 
white enamel. Venetian. Fifteenth century. 

Height, inches; width, 4 inches. 

943 — Deep-hied Dish. 

Clear glass on a large foot. Decorated in the glass with spirally disposed white 
filaments and, between them, bands of lacelike reticelli work. Venetian. 

Width, 10I4' inches ; height, 1% inches. 

944 Cylindrical Mosque Lamp. 

Clear glass with a horny texture, strengthened by a heavy rib one-third of the 
distance from the top, on each side of which is a band of decoration in gold and 
enamels, the gold largely worn away. The decoration consists of Arabic in- 
scriptions and conventional floral forms in blue, red, white, yellow, and green, 
with outer borders of valence pattern ornamented with flowers and leaves out- 
lined in red, and originally filled in with gold. The inscription reads from right 
to left: "El Malek, el Slim, el alim, el alim," "The king, the learned, the 
learned, the learned," a customary dedication formula. Arabic. Fourteenth 
or fifteenth century. 

Height, io>i inches. 



945 — Globular Mosque Ornament for Suspension. 

Clear, slightly greenish glass, with a broad band of enamelled inscription about the 
middle in gold, outlined in red, interrupted by four circles in gold, barred across 
with thick, red enamel, leaving lozenge-shaped reserves, with borders of ara- 
besques in gold above and below. The inscription reads: " One of those made 
by the great, the exalted El Naki, El Arjawan ; the glory be to God. ' ' Egyp- 
tian. Thirteenth century. Diameter, 7 inches. 

The lozenge reserved on a horizontal bar is an ancient Cairene heraldic device, like 
the dagger, the crescent, and the cup. It is found on fragments of pottery from the 
Fostat mounds (old Cairo), now in the British Museum, and was in use during the 
thirteenth century a.d. From the character of the decoration, this globe should be 
assigned to the early part of that period. 



946 — Panel of Painted and Leaded Glass. 

Bearing two armorial shields with elaborate scroll crests, framed in a motive derived 
from Renaissance architecture, with, above, a forest scene with hunters and 
deer, a castle in the distance, and below, an inscription in Gothic characters, 
" Hannis im Thurun Zu SchafFhusen," with a monogram and the date, 1570. 
German. 

Height, 20 inches ; width, \b% inches. 

947 — Panel of Painted and Leaded Glass. 

With three shields armorial, surmounted by a crown, and supported by a lion and a 
lioness, in an elaborate frame of Renaissance architecture. The outer border 
is composed of small shields with the arms of various German towns or 
territories. Dated, a.d. 1680. German. 

Height, 20 inches ; width, i6>£ inches. 

947a — Large Panel of Stained Glass. 

By John La Farge. The design is "Peonies Blown in the Wind," carried out in 
richly colored and moulded glass, and framed in very elaborate borders of the 
same. An important early work by the most famous of living artists in stained 

glass 
Height, 6 feet 5 inches ; width, 3 feet S inches. 

"This, one of my first windows, was made in 1878-79. Part of the glass is the 
very first of what is called American glass, made according to my formulas somewhat 
earlier, and which I was the first to make. Sir Alm.t-Tadema and Hon. John Hay 
have similar subjects, with variations, of course."—; John La Farge. 



947b — Two Antique English Panels. 

Painted and leaded glass, with modern borders. One has in the centre a shield 
quartered with the three fleurs-de-lis, which from the end of the twelfth century 
were the royal arms of France, and a Latin inscription, Orate pro . . . ? 

Each, height, 4 feet 9 inches ; width, 2 feet 4^ inches. 

From the Salisbury Cathedral, England. 



Greek Ceramics 



Seventh to Third Century b.c. 



A leading date to remember in connection with Greek ceramic art is that of the de- 
struction by the Persians of the old temple of Athene, on the Acropolis of Athens, B.C. 480. 
Near the foundations of the temple there have lately been discovered many fragments of 
both black-figured and red-figured vases, which, with other evidence, proves that the transi- 
tion from the first, the black-figured style, to the red must have begun a little before that 
time; that is to say, about the end of the sixth and the beginning of the fifth century B.C. 
To this period must be ascribed most of the black-figured vases in the present collection. An 
exception is the curious amphora, No. 973, which belongs to a small class of archaistic vases 
in which the ancient style has been imitated by later artists. Another exception is the mag- 
nificent "Corinthian " vase, No. 972, which should be assigned to the seventh century B.C. 

The most interesting of all Greek vase paintings are undoubtedly those of the transi- 
tion. The revolution in technique, the growth of artistic skill, and the class of subjects 
treated, all tend to make them so ; and they may be said to reflect to some extent the polit- 
ical importance of the period which witnessed the defeat of the Asiatic invaders and the rise 
of Athenian power and culture. The subjects arc largely mythological or legendary, such as, 
about the same time, furnished themes for tragedy and comedy; assemblies of the gods, 
battle-scenes from Homer, Bacchic festivities, adventures of Herakles and Theseus — illustra- 
tions one might call them, of all the earlier literature and folk-lore of Greece. During the 
period the black glaze, at an earlier age used for the design only, as in the " Corinthian " 
amphora just cited, was spread more and more over the body of the vase, leaving one or two 
narrow zones or broader panels reserved in the red clay on which the black figures could be 
placed. At last, some one ventured to bring the black ground color close up to the outlines of 
the figures, allowing them to remain in the red. In some cases both styles of work are found 
upon the same vase. But the innovation grew in favor, and by the end of the fifth century 
the red-figured style was predominant. This was the moment of the highest development 
of Greek art. Already, in some of the fourth century red-figured vases we find symptoms of 
the coming decline. In the third century we find vases with moulded reliefs, or painted 
only with carelessly drawn ornaments in white or red clay slip over the glaze, a return to 
primitive methods of decoration which had little but their facility and cheapness to recom- 
mend them. Nevertheless, some of these late vases are distinguished for beauty of form. 



The sombre coloring of most Greek vases has been remarked, but the glaze affords 
a greater variety and richness of color than is generally supposed. Its composition is not 
yet understood. It probably differed at different periods. In color it varies, sometimes 
on the same piece, from a fine, glossy black, through brown and olive, to red and even 
orange. In addition, the painters had at their command, for over-glaze colors, white 
yellow, red, and purple, which could be slightly fired; and, in rare instances, the vase, 
whitened over most of its surface, was painted with blue, violet, and green, which were 
not subjected to the firing process, and which have, therefore, for the most part, disap- 
peared. Two large hydrias, Nos. 977, 978, represent this rare polychrome decoration. 

It is difficult to get rid of a misleading term when it has once become generally 
accepted. Greek vases are still frequently called " Etruscan " because certain early and 
important discoveries of them were made in Tuscan soil. But they have also been found 
in Asia Minor, in Syria, Egypt, Southern Italy, as well as at Athens, Corinth, Megara, 
and other places in Greece proper which it is now certain were the principal centres of 
the art. The most noted Italian factories were established by Greeks in Greek colonies. 
Even the very latest products of the Roman kilns in Britain and in Gaul depend for 
whatever artistic merit they may possess upon the lasting and widespread influence of 
Greek taste. On the other hand, we should, perhaps, find a broader term for the vases 
called " Corinthian." Though Corinth may have been the chief seat of their manufac- 
ture, it can hardly have been the only one, and there is no likelihood that the style origi- 
nated there. 



948 — Lekythos. 

With anthemion decoration in black, on a buff ground. 

Height, b% Inches. 

943 — Lekythos. 

Decorated in black, on a pale buff ground. The decoration consists of lozenge and 
checker patterns and a Greek fret. The word "KAA02," "beautiful," is in- 
cised on the foot. 

Height, $yi iaches. 

950 — Two-handled Vase. 

Red figured, with female heads, scrolls, and anthemions reserved in the ground other- 
wise covered with a black glaze. There are traces of over-glaze decoration in 
white. 

Height, 6&f inches. 

951 — Oinochbe. 

With tri-lobed mouth, almost completely covered on the outside with a lustrous 
brownish-black glaze, over which has been painted in red slip a band of ivy 
leaves and berries. A band of pendant leaves above this has been reserved in 
the red ground color of the vase. 

Height, 7X inches. 



952 — Proc/ioos. 

With two-lobed mouth. Decorated with a band of freely executed anthemions in 
black on a red panel, reserved. The remainder of the piece is covered with a 
slightly lustrous black glaze, over which is a ring of pearls in white. 

Height, 9 inches. 

953 — Skyphos. 

Black glazed inside and out, and decorated over the black with olive branches in red 
and, between them, anthemions in white. The decoration much effaced. 

Height, inches. 

Of fine red clay, covered with a lustrous black glaze, excepting, inside, a circular re- 
serve at the bottom of the cup, and, outside, a broad band of red divided by a 
black line above the insertion of the handles, and a narrow band below. The 
uppermost red band is decorated in black with two pairs of leopards, animals 
sacred to Dionysos. From the handles proceed elegant small anthemions, and 
and on a level with them, twice repeated, is an inscription which, though un- 
grammatical, may be read: " XAIPE KAI niEI TE SAl X i " "Hail! and drink 
well." A beautiful example of Attic art of the early part of the fifth century 
B.C. (One handle is missing; the foot has been repaired.) 

Diameter, 5^ inches. 

The restoration and translation of the inscription are by Professor Wright, of 
Harvard, who has made a special study of these inscriptions. 

955 — Small Red-figured Oil Vessel. 

For replenishing lamps. In a form derived from the asios, or wine-skin. It is 
covered, handle, spout, and body, except the convex top, with a lustrous, 
brownish-black glaze, and decorated on the reserve with two-winged gryphons 
in black, with details in lustrous red, due to the glaze unmixed with the black 
pigment. 

956 — Deep Kylix. 

Black glazed within and without, with vine-leaf decoration on one side in red over 

the glaze. Diameter, inches. 

957 — Skyphos. 

Red figured, with, under a band of oves, a maiden with basket and branch, and an 
attendant winged genius. Necklace and wings are touched with white. Under 
the handles are anthemion designs. g^u, ^ inches . dUmeter , 4>i iachet . 

958 — Kylix. 

Of fine clay and elegant form, covered inside and out with black glaze, except on the 
exterior, at the bottom of the bowl. The interior has a large rosette, with several 
borders incised in the clay. Diameter, b% inches. 



959 — Rhyton. 

Red figured, in the shape of a deer's head. The neck is decorated, between anthe- 
mion scrolls, with a winged genius, holding a dish of fruits; above and below 
this are bands of oves. The details of the wings, collar, and bracelets of the 
figure and the outlines of the rocks on which he is sitting are white. The horns 
of the deer have been whitened. The handle has a spray of olive-leaf decora- 
tion. From Tarentum. It is of the early fourth century B.C. 

Height, from nose to rim, Z% inches. 
This class of vessels, of which the form is derived from the drinking-horn, includes 
the most successful attempts to combine modelled with painted decoration. 



960— Rhyton. 

Red figured, in the shape of a bull's head. The horns have been whitened, and their 
corrugations are indicated with lines of faint red ; the ears, mouth, and nostrils 
are laid in with purplish slip. On the neck, between anthemions, is a winged 
Eros in the red color of the clay, with touches of white and yellow. 

Height, from the under part of the head to the rim, 7 laches. 

901 — Prochods. 

With two-lobed mouth, the body in the form of a negro's head. Decorated on the 
neck of the vase, in black on the buff ground, with a broad band of chevrons 
between narrow bands of wave design above and oves below. From Viterbo. 
Attic workmanship of the fifth century B.C. 



962 — Oinochoe. 

Black glazed, with tri-Iobed mouth and graceful, ribbed handle, terminating on the 
body of the vessel in a mask, in relief, of an old man. Campanian. Third 
century B.C. 

Height, to the top of the handle, 10 inches. 

963 — Large Kylix. 

Black figured, covered mostly with a fine, lustrous black glaze, excepting on the out- 
side, at the height of the handles, a band of red, reserved, on which, in black 
are deer and leopards or lions confronted. There are patches of lustrous red' 
the glaze unmixed with the black pigment on the heads and necks of the ani- 
mals. The details are incised. Early fifth century B.C. 

Height, s'X inches ; diameter, 8 inches. 

With a handle for suspension. Red figured on black ground. The subjects are a 
genius with a wreath and mirror, and a figure wrapped in a cloak, separated bv 
anthemions and flowers. On the neck are two female heads. Details are in 
white. 

Height, to the top of the handle, 12 j£ inches. 



965 — Lekythos. 

Red figured on black ground. An Eros or genius with two wands, seated on a 
flower, with very elaborate anthemion and scroll decoration. The details are 
touched with white. 

Height, \Q% inches. 

960 — Amphora. 

Black figured, in large panels, reserved in red from the general glaze of lustrous 
black. The principal subject is the Apotheosis of Herakles. Athene leads on 
Herakles by the hand; Hermes precedes them in the capacity of herald, and 
addresses Zeus, who is enthroned at the right. The figures are distinguished by 
inscriptions, and Herakles wears his lion's skin, Hermes his winged boots, and 
Athene (A0ENAIA) her aegis and helmet. The subject is a favorite one with the 
painters of black-figured vases. The other panel, though much effaced, appears 
to represent one of the labors of Herakles. The vase is of the sixth or early 
fifth century b.c There are some easily perceptible restorations of the glaze, 
not affecting the figures. Found near Cervetri. Attic workmanship, sixth 
century B.C. 

Height, i • ' v inches. 



967 — Amphora. 

Red figured. Reserved from the general glaze of lustrous black are, on the one side, 
a figure wrapped in a cloak; on the other, a half nude female figure, seated, 
holding a basket in the right hand, a dish of fruit in the left. Phiales and a 
fillet are suspended in the background; between the figures are complicated 
anthemion scrolls; on the neck is a band of anthemion*. 

Height, 14^ inches. 

968— Hydria. 

Of very elegant proportions, of black, moulded ware, with reserves in red. The 
body of the vase is ribbed; the down-turned lip has a wave design in black on 
red ; there are two rings of red about the foot, and a band of olive branch in red, 
applied over the glaze, surrounds the neck. 

Height, 12% inches. 



969 — Amphora. 

Red figured. On the one side are a nude male figure and a female figure with a 
bowl ; on the other are two figures wrapped in cloaks, one with a walking-stick. 

Height, i6# inches. 

970 — Amphora. 

Red figured. On the one side is a nude male figure holding an ornamental thyrsus 
and a bunch of grapes, with a Bacchante carrying a basket of grapes and a 
fillet ; on the other, two cloaked figures, one with a walking-stick, as on the 
foregoing vase. 

Height, 16X inches. 



971 ■ — Large Hydria. 

Black figured. Covered with a brilliant black glaze. A large panel on the shoulder, 
reserved in the lustrous red ground color, is painted with a chariot race in 
black. The drivers are clad in white chitons and wear crimson wreaths. The 
harness and the manes and tails of the horses are touched with crimson; a dog, 
running alongside, has a white collar. These colors are over glaze. Details 
are incised. The panel is framed in elegant borders. (Repaired.) 

Height, 13 inches. 

972 — Large Amphora. 

Of " Middle Corinthian " or " Asiatic " style. The decoration consists mainly of 
five parallel zones of animals and fabulous creatures in black on the buff ground. 
The zones are separated by broad stripes of black, divided by lines of red. The 
animals figured are leopards (or lions), deer, bulls, swans, goats, and boars, 
all drawn with much spirit. Harpies, sirens, and sphinxes appear among them. 
The ground between the figures is filled in with rosettes, and the neck of the 
vase bears an early form of the double anthemion design, showing its derivation 
from the Egyptian water lily. 

The effect of the decoration is heightened by the use of two tones of red; 
the one a purplish slip applied over the glaze, the other a brownish or orange 
red, obtained by thinning the black color. In pan, this last is accidental. The 
decoration is partly effaced on one side of the vase. 

The style is supposed to be derived from Persian textiles, or, with more 
likelihood, from the hammered metal work of the time (the seventh and sixth 
centuries B.C.) when the vase was produced. The shining black figures would 
represent the metal ornaments cut out a jour, the buff ground the wood upon 
which they were applied, as in the celebrated chest of Cypsclus. Vases similar 
to this have been found at C;ere in Italy, at Naucratis in Egypt, and in the 
Troad, as well as at Corinth ; and though the period was one of great colonial 
and commercial expansion, it does not seem likely that all were of Corinthian 
origin. Found at La Tolfa, near Civita Vecchia. 

Height, I7X inches. 

973 — Amphora. 

Black figured, with cover. The body has been whitened all over, but much of the 
white coating has worn away. The decoration shows on the one side a lyrist, 
crowned, playing to two admiring female listeners; on the other is the combat 
of Hcrakles and the Cretan bull. An attendant figure holds the hero's club, and 
a female, the nymph of the place, looks on ; a quiver full of arrows is hung up 
in the background. Graceful anthemion and flower scrolls occupy the spaces 
under the handles. On the neck is a border of double anthemion design of late 
style, and another elaborate border surrounds the foot. Details are very boldly 
incised. The flesh pans of the female figures are gray, the original white coat- 
ing having worn off. The vase was probably a prize for a musical or poetical 
composition, and is a good example of the archaistic tendencies of the fourth 
century B.C. 

Height, (o knob on cover, iS inches. 



4 — Large Hydria. 

Black figured. The vase is covered with a brilliant black glaze, excepting a large panel 
reserved in lustrous red, and divided into two unequal horizontal compartments. 
The largest of these shows Athene in a two-horse chariot ; Herakles, with his 
lion's skin and club, admonishing her; and Hermes holding the horses. The 
scene occurs on other vases, with alterations, and is supposed by some authorities 
to have reference to the celebrated ruse of Fcisistratus, who, to justify his usur- 
pation of the government, had himself accompanied to Athens by a handsome 
woman, who personated the goddess. It may simply be a group from a more 
important composition of the war between the gods and the giants (giganto- 
machia) such as is depicted on a vase in the British Museum. In anv case, the 
vase painter, in this instance, seems to intimate that the goddess might not be able 
to manage her steeds without the assistance and counsel of the male divinities. 

The face and arms of Athene are white, the manes and tails of the horses 
purplish red; details are incised. In the smaller compartment above, Athene, 
in a four-horse chariot, separates two groups of combatants. Below the main 
composition is a narrow band with a lion attacking a bull. 

Height, 20 inches. 

5 — Hydria. 

Black figured. The vase is nearly covered with a brilliant black glaze, from which a 
large panel, bordered with ivy leaves and other designs, is reserved in lustrous red. 
The main subject is a Dionysian procession. Dionysos mounts his chariot, in 
which Ariadne is already standing ; he bears a spreading branch of the vine, laden 
with leaves and clusters of grapes. A satyr follows the god closely, playing the 
double flute; another strikes a lyre ; a third, mostly hidden behind the horses, holds 
their heads. They are of the so-called " Corinthian " type, drawn from the actors 
in the satyric drama. In earlier Ionic paintings they have horses' legs and hoofs, 
as well as tails. Two mxnads run along at the far side of the horses, one hold- 
ing a bundle of small twigs, perhaps anaspergill; the other sounding the cro- 
tales. The animated composition is liberally enriched with colors applied over 
the glaze. The beard and crown of Dionysos are purple ; his ample himation 
and Ariadne's robes are banded with purple ; the satyrs have purplish beards, 
crowns, and tails ; the horses have purple tails and manes. Ariadne's face is 
gray, the original white coating having been worn off; but the faces and arms of 
the m;enads arc white, and their black dresses are ornamented with purple disks 
and stars. This striking coloration is not altogether fanciful. Horses' manes 
and tails were frequently dyed. The satyric actors stained their bodies with lees 
of wine. Nor is the picture, as a whole, without relation to actual life — at least 
that of the theatre and the public festivals. Allowance made for the necessary 
conventionality of treatment, which is pan of the style, it may even be said to 
image almost realistically the strange and fantastic appearance which must have 
been presented by a Dionysian procession, at night, against a torch-lit background. 

Below the iriain picture is a band with boars and lions; above is the combat 
of Herakles with the Nemean lion, watched by Athene, Hermes, and other 
divinities. The vase is of the latter part of the sixth century B.C., or the be- 
ginning of the fifth century. (Repaired.) 

Height, 17 inches. 



976 — Large Hydria. 

Of buff-colored clay. Decorated with a band of freely executed ivy design on the 
shoulder, between the handles, and one of olive about the neck. The large 
handle is twisted. 

Height. 14^ inches. 

977 — Hydria. 

It has been whitened all over, and bears traces of decoration in white, blue, and red, 
representing a twisted fillet passed through the handles and falling in a festoon 

against the side of the vessel. 
b Height, 15 inches. 

978 — Hydria. 

Coated, like the foregoing, and painted in white, blue, and red (the blue turned green- 
ish), with a fillet depending from the handles. The white coating has scaled off 

in places, exposing the red clay body of the vase. 

K ' r b Height, 17^ inches. 

979 — Hydria. 

Of reddish-buff clay, painted with a band of freely executed olive branch design on the 
shoulder, between the handles; a wavy branch of the same surrounds the neck. 
(Repaired.) 

v r Height, i5# inches. 



Greek and Roman Marble Sculpture 

980 — Fragment of a Marble Votive Relief. 

A woman presenting a child, a small building in the background. Finely wrought in 
close-grained marble. There are traces of red paint on the child's dress. 
Mounted on a block of oak covered with red velvet. 

Length of fragment, 9^ inches. 

From Palembino. The natural supposition, that this represents the institution 
by Trajan of the Pueri Alimentarii, is excluded by the style, which is earlier. It prob- 
ably represents the presentation of a captured prince or a hostage. 

981 Head of a Satyr, Crowned -with Ivy. 

Very finely wrought, with much undercutting, in fine-grained marble. The back of 
" the head is missing. 

Height, 7 inches. 

982 Head of Dionysos, Crowned with Ivy. 

Finely wrought in marble. The nose has been restored. Mounted on a pedestal. 

Height, 6 inches. 



983 — Archaic Male Head. 

In fine soft-grained marble. With hair, indicated by wavy lines, bound by a fillet, 
three rows of small curls over the forehead, high cheek bones, and prominent 
eyes. The nose is mutilated ; no restorations. Greek. Late sixth or early 
fifth century u.c. From the Villa Borghese sale. 

984 — Marble Head of a Triton. 

With curiously twisted, long locks. Pergamese style. 

985 — Marble Head of Athene. 

Helmcted. Resembles the Giustiniani Minerva. 

Height, i% inches. 



Height, S% inches. 



Height. 2)4 inches. 



9g(j , — Portrait Head of a Roman. 

Marble. Well executed, with much undercutting in the hair and beard 
a pedestal of yellowish, veined marble 
Villa Borghese sale. 



Mounted on 

Period of the Antonines. From the 



Larger than life site. 



Greek Terra-cottas 

Fourth to Second Century b.c. 

987 — Psyche. 

The lower part of the body is draped ; butterfly wings on shoulders. She stands 
leaning forward, holding a perfume bottle in one hand, and with the other 
removing the drapery which covers an jrn placed on a tall rustic pedestal. 

Height, to inches. 

938 — Boy, Crowned. 
Carrying a satchel. 

Height, 4^ inches. 

939 Girl with a Pet Bird on Her Shoulder. 

She is seated on a rock, and is offering a fruit to the bird. The hair is tinted red. 

Height, 7 inches. 

99Q — Girl Standing. 

With arms wrapped in her mantle. There are obvious traces of the original coloring— 
the chiton blue, the peplos pink, reddish hair, vermilion shoes. 

Height, 9 inches. 



991 — Girl Seated in a Chair. Height % ^ 

992 — Girl Standing. 

Arranging her drapery. The hair is dark red. Height ^ 

993 — Girl Mourner. 

With wreath and amphora. Seated on a stone bench. There are traces of blue on 

the amphora. The hair is reddish. . . 

r Height, 6JS inches. 

994 — Girl Seated on a Rock. 

Leaning sidewise. The upper part of the body undrapcd. The right hand raised, 

holding an ointment bottle. ... . 

b Height, 6 mches. 

995 — Girl with a Lyre Seated on a Rock. 

The head, gracefully bent, looking down. Height _ ^ 

99G— Girl Seated, with a Fan. 

The upper part of the body is nude, the legs crossed under the drapery, the right 

hand raised as if in surprise. Reddish hair. . 

r Height, 8 inches. 

997 — Group. 

Of a lady at her toilet, with an attendant. The former, seated, is regarding herself 

in a mirror, of which the cover, which is supposed to be on a pivot, is pushed 

back ; the latter, seated on the ground, is tying her mistress's sandal. Both 

have reddish hair. „ . , 

Height, inches. 

998— Group. 

Of Pan and a nymph. Pan, goat-footed, is seated on the ground, and is extracting a 
thorn from the nymph's foot. Height, 8« inches. 

A well-known expert thus writes from Rome, May 3, 1888: "I have boutrht for 
you a most remarkahle group found at Kyme (jEolis). representing a nymph, and Pan 
plucking a thorn from her foot. You will be delighted with it. It is one of the most 
beautiful objects preserved to us from antiquity. The exquisite beauty of the nymph 
makes a highly effective contrast to the characteristic ugliness of Pan. The zeal with 
which the latter applies himself to the task is given with notable humor." 

999 — Tall, Graceful Female Figure. 

Wrapped in a mantle, wearing a hat, and carrying a fan. The hair is reddish the 

lips tinged with red. 
v b Height, u inches. 

1000 — Head and Shoulders of a Boy (Atys?). 

Wearing a pointed cap, the ijoAw; with hair hanging loosely. Coarse terra-corta, 
late Greek or Roman. Found at Caysua. Height 



Antique Persian and Other 
Oriental Ceramics 



Old Spanish Azukjos 



Properly speaking, there is no Arabian art. The arts of the mediaeval East, like 
those of the West, were derived from the common focus, Byzantium; and, in the East, 
the chief centre of innovation, growth, and diffusion was not Arabia, but Persia. 

Assuming — a large assumption — that the Arabs are to be credited with that taste 
for geometrical combinations so marked in all Mahometan ornament, and with the pictur- 
esque lettering known by their name, it was Persia that gave a new life and greater 
elegance and suppleness to the stiff Byzantine forms, and it was from Persia that the new 
art radiated to Damascus, Broussa, Rhodes, and Keirouan. So close is the relation that, 
in many cases, it is unwise to affect to distinguish the art of these places from the 
Persian. Even the very characteristic art of Moorish Spain shows unmistakable evidence 
of Persian derivation. But Persia has always been a centre of absorption as well as of 
diffusion. She went to school in ancient times to Chaldaea, Egypt, Greece. After the 
Moslem conquest she continued to learn of Constantinople, of Egypt, and of India. The 
influence of old Egyptian ornament is shown in the beautifully iridescent vase (No. 1016) 
with an Egyptian lotus decoration in black under the glaze, though the vase itself may be 
contemporary with Haroun-al-Rashid and the glories of the Arabian Nights. It is matched, 
as to technique, by pieces recently found in Syria and in the neighborhood of Nineveh. 
And turning in the opposite direction, the large turquoise-blue jar (No. 1032) whose 
reliefs of elephants and horsemen may have been intended to recall the deeds of Mahmoud 
of Ghazni, the conqueror of India and patron of Firdausi, the national poet of Persia, 
shows a mingling of Indian and Persian elements in its decoration. 

The earliest dated Persian lustre tiles are of the thirteenth century, according to 
Mr Henry Wallis; but the art of lustre was practised in Egypt from the eleventh century, 
and must have reached Persia not long after its discovery. These very early lustred pieces 
were golden or nacreous in tone, with occasional flashes of rubv, on a white or pale yellow 
j an d were probably intended as substitutes for the gilded vessels of Constantinople. 



Omar Khayyam may have drunk out of one of those primrose-colored cups decorated with 
golden lustre, like the fragments unearthed, in recent years, near old Cairo. The star- 
shaped and X-shaped lustred tiles in the present collection are of the thirteenth century 
style. They are now so rare in Persian mosques that they are usually found singly, set 
in the midst of large panels of tiles of later date. The larger mosque tiles, with blue 
letters in relief, which may be from Anatolia,* are probably a century later. But, was it 
not a peculiarly Persian fancy to decorate with lustre the monumental tablets in com- 
memoration of the dead (like No. 1158) which, following ancient usage, are in the form 
of a door to the other world ? The inscriptions sometimes refer to the slab itself as the 
gate to the garden of the deceased — his M paradise." 

It is strange that the Chinese never attempted decoration in lustre, though they 
have often accidentally produced it, and though the intercourse between their country and 
Persia has been long and fruitful. Genghiz Khan is said to have brought Chinese potters 
to Kashan, and it may be to the descendants of their Persian pupils that we owe the beau- 
tiful and exceedingly rare Persian white porcelain, of which No. 1004 is an example. 
The efforts — childish, perhaps, but certainly not slavish — to follow Chinese naturalistic 
decoration which we find on old Persian blue under-glaze, such as the curious landscapes 
on Nos. 1019, 1023, 1028, and 1031, are probably contemporary with the Chinese por- 
celains of the early Ming period ; and some of the finer Persian porcelains may belong to 
the period following the reign of Shah Rokh, when, in China, under Siounte and the later 
Ming, were produced the best porcelains of the farther East. If the Persians copied the 
Chinese, the Chinese also copied Persian patterns and glazes, and it is not easy to deter- 
mine whether the mosque globe (No. ion), comparable with the finest Chinese blue and 
white, and the plate (No. 1008), with its outer glaze of "peach-blow" color, are of 
Chinese or Persian manufacture. 

Under Shah Abbas (1557-1627) . occurred the revival of the Persian art of 
lustre to which we owe the lapis-lazuli bowls on which, in gardens of cypress, willow 
and rose, peacocks strut among irises and tulips, all in sombre black, like a night effect 
of a European painter, hut changing, as if by magic, to sunrise hues of ruby, emerald, 
and gold. 

Finally, we come to those splendid wall revetments of polychromatic tiles from a 
mosque in Constantinople,^' in which Chinese cloud scrolls mingle with the floral orna- 
mentation of the Persian, and the shaded enamels recall the practice of ancient Byzantine 
decorators. Some day it will be possible to bring together in one system the arts of Asia 
and of the Mediterranean. It will then be seen that the apparently divergent streams of 
descent have mostly run parallel when they have not intermingled, and that, from the 
early Middle Ages to the present Persia has been one of the most important centres of 
transmission and modification. We may then, also, be able to distinguish with certainty 
between the various national and local schools of the nearer East, and to trace, step by 

* Persian potters were established there in the fourteenth century, 
f Most likely of Anatolian manufacture. 



step, the genesis of their ornamentation. But there are still many gaps in our knowledge 
which must be filled before this can be satisfactorily done. 



Some of the old Spanish wall tiles from the unfinished palace of Charles V., on the 
Alhambra hill, keep, together with their Moorish name (Azulejos), the Moorish lustre. 
The Spaniards must have introduced the art into Mexico, for it is practised to this day by 
Mexican Indian potters. 

1001— Bottle. 

White opaque glaze. Decorated in brownish lustre with metallic reflections, in a 
pattern of leaves and flowers on the body, and a conventional cypress and arcade 
pattern about the neck, which terminates roughly to receive a metal mount. 
Very old Persian, probably of the thirteenth century a.d. 

Height, 4 inches. 

2002 — Flattened Baluster-shaped Bottle. 

With two small handles for suspension. With decoration of scrolls and foliage in 
blue and black. The blue has run into the vitreous glaze. 

Height, 6 inches. 

1003 — Puzzle Ewer. 

With crescent-shaped mouth and S-shaped handle. The foot is open to the middle 
of the vessel, and panels of open reticulated work make it seem impossible that 
it should hold a liquid. It is decorated with blue and black. The vitreous 
glaze has formed a drop depending from the spout. 

Height, 7 inches. 

2004 — Short Cylindrical Bottle, or Vase. 

White, translucent porcelain, with decorations incised in the paste. Persian. 
Probably of the fifteenth or early sixteenth century. 

Height, 4}i inches. 

2005 — Puzzle Bottle. 

With openwork panels, like No. 1003, with decoration in blue and black, 

1006 — Bowl. 

White inside, blue on the exterior. Decorated within with freely treated conven- 
tional flowers and leaves in golden lustre; on the outside with a peacock among 
trees and flowers, in black lustre, giving green and golden metallic reflections. 
Persian. Sixteenth or early seventeenth century. 

Diameter, 7% inches. 

2007 — Short Cylindrical Bottle. 

Similar to No. 1001, but fitted with a screw top in metal, the cap lacking. The 
glaze is of a brownish white, and it is boldly decorated in brown lustre with 
rich metallic reflections. Very old Persian. 

Height, 4)4 inches. 



1008— Deep Plate. 

Of translucent porcelain, the inside covered with a thick white glaze, and decorated 
with a diaper pattern incised. The outside has a thin fawn-colored glaze of the 
same composition as the Chinese « peach-blow " glaze. 

Diameter, 8&' inches. 

1009 — Deep Bowl. 

Decorated inside and out in blue, outlined with black, in an arcade pattern, and 
very free floral scrolls. Alternate panels of the arcade are pierced through the 
paste, the openings filled with the transparent glaze. Persian. 

This ware, known to Horace Walpole as "Gombroon ware," from the name of 
the port on the Persian Gulf where was the first depot of the East India Company, 
bears an obvious resemblance to the Chinese " grains-of-rice " ware. It is a 
question in which country the mode was invented. 



Diameter, 8# inches. 



1010 — Bowl. 

Similar to No. 1006. Enamelled with deep blue on the outside, white within. 
The outer decoration, of rose bushes, willow trees, etc., is in black lustre 
with varied jewel-like reflections; the inner, a willow with drooping branches, 
surrounded by detached flowers and arabesques, is in brown lustre with similar 
vivid reflections of ruby, emerald, sapphire, and gold. The greenish vitreous 
glaze forms a thick ring at the bottom, on the outside. Persian, Sixteenth 
or seventeenth century. 

From the Bing Collection. 

Height, 3>g inches; diameter, 3^ inches. 

1011 — Porcelain Mosque Globe. 

To unite the chains of a hanging lamp. It is ornamented with arabesques and 
simulated inscriptions reserved in white from a ground of the finest cobalt. 
Damascan or Chinese (?). 

Diameter, 5^ inches. 

1012 — Small Cup. 

Of porcelain. Covered within with a brilliant white glaze j on the outside with a 
fine, deep blue. It is decorated, in copper lustre giving gold and ruby reflec- 
tions, with the arcade and cypress pattern on the white interior, and on the 
exterior with vine leaves reserved in the blue. Persian. 

Height, iX inches. 

1013— Smalt Cup. 

Similar to the preceding. 



1014 — Bowl. 

With a thick body and creamy white glaze. Decorated, in copper lustre with rich 
purple reflections, with a band of arabesque pattern, guilloche border, and free 
foliage designs. The exterior bears simulated inscriptions. Hispano-Moresque. 

Diameter, 5 % inches. 



101b— /ug. 

Of light body and creamy white glaze. With a design of two birds alighting among 
flowers, in copper lustre; no changing reflections. Late Italian or Spanish imi- 
tation of Hispano-Moresque ware. ^ ^ 

At the beginning of the last century, Baron Charles Daviliier found a single 
furnace at Manises, in Spain, still producing copper lustred ware after the old 
Moorish designs. It is probable that the art has never entirely died out in Italy, 
whence come most of the genuine Hispano-Moresque specimens. 



101G — Vase. 

Baluster formed. Covered with a thick, brilliant, vitreous glaze, about half of 
which shows a fine pearly iridescence like that on antique Greek glass. Deco- 
rated under the glaze with lotus forms, in a scale pattern, in greenish black. 
A band of chevrons surrounds the neck, which is broken. The design is 
medieval — Egyptian. Similar pieces have been found in Syria and Mesopo- 
tamia. Probably of the eighth or ninth century a.D. 

Height, t% inches. 

1017 — Vase. 

Of amphora form, but with the neck prolonged beyond the handles. It is deco- 
rated, in copper lustre without changing reflections, with birds alighting among 
flowers, as on No. 1015. Imitation of Hispano-Moresque. 

Height, 11 inches. 

1018 — Bottle, or Surahe. 

The mouth has been left rough, to be finished in metal. The glaze is of a fine 
deep blue; the decoration, in black lustre, giving varied metallic reflections. 
Persian. 

Height, ()% inches. 

1019 — Surahe. 

Of similar shape to the foregoing, but fitted with a metal screw top. Vitreous 
glaze. Decoration in grayish blue, in free imitation of a Chinese landscape 
design, with birds, flowers, and deer; with imitations of Chinese wave and 
lambrequin borders, and upright panels of floral and geometrical decoration 
on the neck. It is one of the very few Persian vases that bear a potter's mark 
on the bottom. The vase is slightly damaged. Persian. 

Height. g}4 inches. 

1020— Bowl. 

Of " Gombroon " ware. Alternate panels of the arcade decoration are pierced 
with quatrefoil openings filled with the transparent glaze; the others have rude 
floral designs in black on a blue ground. In the interior is a floral scroll rising 
from a rock, showing Chinese influence. Persian. 

Height, 7# inches. 



1021 — Surahe. 

Of lapis-lazuli blue, with floral and other decoration in black lustre with metallic 

reflections. Persian. 

Height, 12 inches. 

1022 — Ewer. 

With dark blue body. Decorated with exquisite floral designs in white, turquoise, 
and purplish brown. Mounted in richly chased brass. Persian. 

Height, 14 # inches. 

1023 — Surahe. 

Decorated in grayish blue, with wild geese in a landscape, and lambrequin patterns, 
showing marked Chinese influence. Persian. 

Height, 9 inches. 

1024— Deep Disk 

With large rim. The decoration, of birds and flowers within, and of flowers in 
compartments on the outside, is in dark blue on white. 

Diameter, 8 inches. 

mSb—Dish. 

With umbilicus in centre. On the deep blue ground there are within, radiating, 
cloud-shaped reserves with Cufic inscriptions in black. On the outside there 
are very freely treated conventional leaves and plants in blue on white in the 
manner frequent on Hispano-Moresque ware. Persian (?). 

Diameter, 8 inches. 

1026 — Large Bowl. 

Of "Gombroon" ware. It is decorated in brown, with figures of the fabulous 
simourg, or bird of paradise, from whose back rises a quatrefoil panel with 
cross-shaped openings in the paste, filled with the greenish vitreous glaze. 
Between these are conventional cypress trees and floral scrolls. The foot has 
been pierced for suspension. Persian. 

Diameter, 8# inches. 

1027 — Large Bowl. 

With a charming decoration of carnations and other flowers in white, turquoise and 
brownish purple on a blue ground. (Repaired.) Persian or Rhodian. 

Diameter, io# inches. 

1028 — Surahe. 

With screw top and cap in silver repousse, and chased. The body is divided into 
upright compartments, with landscapes in grayish blue, in very free imitation of 
Chinese originals. Persian. 

Height. 11 inches. 



2Q29 — Porcelain Mosque Globe. 

For a hanging lamp. Decorated in blue, pink, and green, with arabesques in black. 
Rhodian(?). 

Diameter, <)% inches. 

1030— Oil Jar. 

With thick glaze, originally greenish white, but now brown from percolation and 
oxidation of the oil which the vessel once held. The decoration is in blue, in 
bands of checkers, lozenges, and hatchings, with an inscription in blue round 
the neck. 

Height, 10 inches. 

1031 — Large Baluster-shaped Oil Jar. 

With thick vitreous glaze, large crackle, and decoration in faint blue, of figures and 
animals in a landscape. A free imitation of the Chinese. The lower part is 
discolored by oil. Persian. 

Height, u# inches. 

1032 — Large Turquoise-blue Jar. 

Decorated with figures in flat relief. The surface is divided into compartments by 
lines in relief, and these are rilled with reliefs of elephants with palanquins, 
horsemen with banners, and other figures riding grotesque animals. The glaze 
is very thick. Old Indian or Persian, probably of the eleventh century. 

Height, 1734" inches. 



SIXTH AFTERNOON'S SALE 
Friday, January 30th, 1903 



BEGINNING PROMPTLY AT 3 O'CLOCK 



Bronzes and Other Metal 

Work 



1033 — Old Dutch Oblong Brass Box. 

With rounded corners and hinged lid. It is engraved on cover and bottom with 
humorous designs and inscriptions. 

Length, 5^ inches. 

1034 — Bowl and Plate. 

Of white metal, artificially darkened to display the ornamentation of inlaid silver, 
chiefly in rich floral patterns, on the inside, in medallions bearing inscrip- 
tions. Persian. 

Width of bowl, 5 inches ; width of plate, 6^ inches. 

1035 — Brass Bow/ with Cover. 

Engraved and inlaid with small turquoises and studs of polished copper. The orna- 
mentation is in three bands of arabesques and inscriptions. A few of the 
turquoise studs are lacking. 

Diameter, 1% inches. 

1036 five Small Bas-reliefs of Bronze. 

Two of a Bacchanalian procession of cupids with a goat and a basket of grapes; two 
of a wedding of Cupid and Psyche; and one of cupids and young satyrs with a 
baby Silenus. They have been soldered together to form a small frieze. 



1037 — Small Bronze Lamp. 

Of antique fashion, for two lights; the handle composed of twisted snakes. On a 
pedestal of yellow Sienna and black marble. 

Height, 7 inches. 

1038— Ewer. 

Of dark bronze. The lower part of the body is ribbed, the upper part bearing in 
relief a band of elongated oves. The handle is formed of an athlete of archaic 
Greek style, holding by the tails two lion cubs. 

Height, ty z inches. 

1039 — Two-handled Bronze Vase. 

Decorated in antique fashion with reliefs of Centaur and Centauress with cupids 
Mounted on a pedestal of variegated red and black marble. 

Height, io inches. 

1040 — Bowl. 

Engraved medallions, alternately circular and oblong, the latter filled in with inscrip- 
tions. The bottom of the piece is covered with arabesques in compartments 
the incisions being filled with a dark color. 

Diameter, g# inches. 

1041 — Bowl. 

Decorated with several bands of incised and inlaid ornamentation. The principal band 
has eight medallions, with figures of horsemen in silver, alternating with inscrip- 
tions and conventional ornaments. A narrow band near the rim has figures of 
hares and other animals of the chase, and small wheel-shaped ornaments which 
last are inlaid in gold. In the interior is a circular band with fishes. Persian 

Diameter, io# inches. 

1042 — Bottle. 

With swelling body, and long, slightly flaring neck; of iron, inlaid with silver. Old 
East Indian. (Damaged at bottom.) 

Height, 12% inches. 

1043 — A Pair of Firedogs. 

Japanese silver bronze. In the form of Buddhist lions. 

Height, 13 inches. 



1044 — Head of a Young Roman Lady. 
In bronze. Mounted on a mahogany pedestal. 



Height, with pedestal, 21 inches. 



*1045 — Reproduction in Bronze of a Statue of a Dancing Satyr, 
From Pompeii. 

Height, 31 inches. 

*104G — Reproduction in Bronze of an Antique Statuette of Antinous. 

Height, 25 inches. 

*1047 — Reproduction in Bronze of an Antique Statuette of Victory. 
Mounted on a block of variegated marble. 

Height, 27 inches. 

*1048 — Tall Ornamental Bronze Tripod. 

Height, 37# inches. 

*1049 — Large Bronze Tripod. 

Reproduction of an antique original, with a fiat top borne by winged sphinxes, and 
having a detachable ring, decorated with bucranes and rosettes. 

Height, 36 inches ; width, 24 inches. 

* These bronzes are reproductions of famous antiques in the Naples museums, and were 
procured by the late Mr. Marquand through Sir Frederick Leighton, under whose supervision 
they were produced. 



1 



Limoges and Other Enamels 



The qualities which twice made the enamels of Limoges famous, so that the name 
of the town designated the ware, are not at all those of the painted enamels of the last 
two centuries. These more recent enamels, charming as they are, are but a variety of 
miniatures j but in the Middle Ages, and, again, during the Renaissance, Limoges produced 
work of a boldly decorative character. The means, and the results obtained by them 
varied greatly in the two periods mentioned. The champlev'e enamels of the Middle 
Ages, an important example of which is the lavabo, No. 1057, rely for their effect 
upon the colored background, for their significance upon the forms engraved in the 
copper. In the painted enamels of the fifteenth and seventeenth centuries, on the con- 
trary, the metal entirely disappears from view, and the design is completely carried out 
in enamels. Nevertheless, the enamels of these two periods agree in their decorative 
intent. The enamellers, or " daurediers " of Limoges, notwithstanding the original sig- 
nification of their title and the fact that they frequently wrought on gold or silver never 
took kindly to such work, which was a Parisian specialty. They required a larger scale 
an atmospheric setting, the dignity of utility. They were accustomed to produce works 
of considerable dimensions — tombs, altar screens, reliquaries. When fashion called for 
precious materials and minute workmanship, the star of Limoges declined, to rise again 
when a bolder and more artistic spirit was in the ascendant. 

Enamelling in the fashion called cloisonne, still practised in the East and in 
Greece ami Russia, preceded the champlev'e method. It was in use in ancient Gaul A 
most interesting example of the style is the Greek Church triptych, No. 1063, > n which 
the accumulation of difficulties, which the Western workers finally swept aside, is evident 
The figures in these pieces of ancient style are carved or cast in solid metal but the 
cloisons that retain the enamel are of thin strips bent to shape and soldered to the body 
of the piece. The bending of a metal so little pliable as copper or brass, and the 
carving or casting of figures in high relief, were early abandoned in the West in favor of 
the freer and simpler champlev'e manner, in which the figures are merely incised and the 
background cut away to receive the enamel. Rut figures cast in full relief were 
frequently affixed, as in the cross, No. 1062. Many important works were done in this 
manner. The tombs of Walter Merton, Bishop of Rochester, .and of Aymar it 
Valence, of Westminster, were covered with enamelled plaques from Limoges; and in 



France, during the thirteenth and fourteenth centuries, a bishop could hardly be said to 
have been decently buried if he were not encased in enamel. 

The artistic ideals of the Renaissance brought about another and more revolutionary 
change. The precious metals came in vogue together with a return to the ancient 
mode of figures in relief (but now rendered with adequate knowledge), and these were 
covered with translucent enamels, which colored but did not conceal them, excepting the 
flesh parts, which at first were left in the metal. But it was found more pleasing and 
harmonious to cover these with opaque white enamel, and, little by little, the opaque 
enamels invaded the other parts, allowing, as they did, of greater freedom in the model- 
ling and greater variety in the color. The results are seen in the precious little pictures 
of the Seasons, by Jean Pcnicaud III., and the plaques, by Leonard Limousin, of the 
magnificent altar screen in this collection. 

But the transformation in technique did not stop here. The habit of working 
through opaque enamel to a ground of another color, most often black or blue, gave rise 
to the school of enamel painters in grisaille, which form became the chief means of 
expression. From 1520 these grisailles are of capital importance. 

Their peculiar beauty depends on the intimate union of two distinct processes — 
the loading of the lights in opaque white pigment; the scraping down to the black ground, 
as in sgraffito work, for the outlines and the shadows. The former implies a breadth of 
touch in the painting; the latter a precision and delicacy in the outline, a vigor in the ac- 
cents, which are precisely the special qualities of a fine grisaille of Limoges. Added to these 
are the grace, the magnificence, the fancy of the early French Renaissance — for the an hardly 
outlasted the Valois — and all the varied interests of the time reflected in the subjects chosen 
by the painter, taken now from the Bible, now from the practices of the Church, again 
from classic mythology, or from the labors of every-day life. There are few relics of the 
past which present so many claims to the regard of the art lover and the connoisseur. 

All periods except the modern are illustrated in this small but well-chosen collec- 
tion. The Byzantine triptych may stand for the early cloisonne work. At Limoges, the 
figures in relief were first cast separately, and affixed to the plaques in enamel which 
served for backgrounds (or both figures and enamels were applied separately to a ground 
of copper gilt as in No. 1062 of the collection); but in the later Middle Ages they were 
dispensed with, and their place taken by figures simply engraved in the copper; and of 
this we have an example in the basin, or rather ewer, already cited. Finally, we have 
capital examples of the earlier style of painted enamels in the little plaques by Jean Pcni- 
caud, and of a later kind in the important works by Leonard Limousin, while the last 
word of the ancient art of enamel painting is said in the magnificent grisailles by Pierre 
Reymond and other masters in the collection. 



1050 — Two Salt-cellars. 

Of white enamel. Each mounted on three feet, and decorated on the exterior with 
lattice work and flowers in gold. 



1051 — Tazza with Cover. 

Decorated inside and out with mythological figures and ornaments in grisaille and 
gold on a ground of rich black enamel. 

The dome-shaped cover has a pointed knob and four oval bosses on 
which last, within white frames, are two female heads and two male, one of 
the latter wearing a sailor's cap, the other a helmet. The black ground in 
these medallions is dotted with gold. Between them are four cupids in various 
attitudes, holding bunches of fruits and leaves, and sustaining on their heads 
baskets of fruits. The whole is encircled by a wreath of laurel leaves in 
grisaille, and, on the outer rim, a guilloche pattern in gold. 

On the inside of the cover the concave medallions bear four heads, 
the beardless male heads wearing, one a helmet, the other a wreath. Between 
them are arabesques in gold, with, in the centre, a blazing sun. A light wreath 
and a guilloche pattern in gold complete this part of the decoration. It should 
be noted that the outside of the cover bears in red a shield with a ship in white 
and black — the arms of the city of Paris. 

The bowl contains, in the interior, on a black ground finely dotted with 
gold, a circular composition of Jupiter with Venus and Cupid, and Mercury 
stepping out of the circle, an adaptation from an engraving by Marc Antonio 
Raimondi. On a band of gray enamel, encircling the picture, are the figures of 
the zodiac in grisaille. Outside of this is a rich border of Renaissance scrolls 
in gold. The rim is white. 

The interior of the hollow foot is dotted with gold stars, and has, at the 
bottom, a gold rosette. The exterior is divided into four compartments by 
heavy festoons of leaves tied with ribbons. In the compartments are trophies 
of musical instruments, drums, bagpipes, flageolets, etc., depending from 
bunches of leaves. Acanthus leaves of elegant design surround the junction 
of foot and bowl, and from those on the bowl spring large foliated scrolls in 
gold which fill in the interstices between the leaves. A wreath of laurel in 
grisaille forms an outer border. Signed and dated, "P. R. 1555." 

Height, to top of cover, b% inches ; diameter of the bowl, 6 inches. 
" This most beautiful and perfect specimen is the work of Pierre Reymond "— 
Sir Charles Robinson. 

From the renowned collection of Hollingworth Magniac, Esq. (known as the 
Colworth Collection), sold at Christie, Manson & Woods, London, 1892, at which 
sale it was bought for Mr. Marquand by Sir Charles Robinson. 

1052 — Three Small Enamel Plaques. 

In finely chased brass frames, mounted on a velvet covered panel. The Dlaaues 
represent the Labors of the Seasons. In the central and largest, haymakers are 
at work; an old man with a feather in his hat is mowing, a younger man is 
sharpening his scythe, a woman in the background is raking. In the right-hand 
plaque a man is ploughing with a team of horses. In the distance another 
man is sowing. Vine-dressers are shown in the left-hand plaque : a man with a 
serpe is trimming a vine; an older man, in shirt and boots, is planting a stake; 
a third is bringing up a bundle of stakes on his back. In the distance is a 
thatched cottage. In each scene a semicircle of clouds fills the upper por- 
tion of the sky, as in the well-known little woodcuts by Hans Sebald Beham, 
who may possibly have furnished the designs for these plaques. 



These clouds arc light blue, but enclose a space of darker blue than 
towards the horizon. The other colors used are green, turquoise, purple, 
white, flesh color, gray, a rich transparent red in some of the costumes, and 
gold of several hues in the freshly turned furrows, the vine-stakes, and parts of 
the costumes. 

All three plaques are from the Fontaine Collection. The ploughing scene 
and the mowers were previously in the Spit/.er Collection, from which they 
passed to the Fontaine Collection. All are painted in transparent enamels, 
mainly, over a preparation in brown enamel. 

The dimensions of the largest plaque, are: Height, 2% inches; width, \ % inches. 

The others are very little smaller. 

Jean Penicaud, the third, to whom we are to attribute these precious little works, 
flourished in the latter half of the sixteenth century, and is reckoned by de Laborde 
" le talent svpirieur et la gloire du Limoges." 

They bear at the back the stamp of the P£nicaud atelier. 

1053— Tazza. 

Decorated inside and out with designs in grisaille and ornaments in gold on a black 
ground. 

The inside of the bowl is filled with a composition of the 41 Judgment of 
Moses" (Exodus xviii.). Moses, bearing a rod, is seated on a throne; the 
chiefs of the Hebrews are grouped to right and left; two sit on the ground in 
front, near a boy, who holds an escutcheon with part of the inscription, and 
points to the continuation, which runs along one of the steps to the throne. 
The border is of rich sixteenth century arabesques in gold. The rim is white. 

The hollow of the foot is enamelled white, sprinkled with small stars in 
red. Externally, the bell-shaped foot supports a stem in the shape of an urn. 
On the foot, enclosed in a double border of guilloche pattern in red on white, 
and circles in gold on black, is a camp scene, with Aaron approaching the 
Tabernacle, and other figures conversing in richly decorated tents. On the 
urn are four oval medallions with alternate male and female heads. The out- 
side of the bowl has a rich composition of masks, baskets of fruit, scrolls, and 
festoons in grisaille, surrounded by foliated scrolls in gold on black, and bor- 
dered by a strongly designed band of oves in grisaille. The flesh part of the 
figures is tinted pink. Signed, "P. R." and dated 1575. 

Height, 5# inches ; width of bowl, 7 inches. 

Pierre Rexmann (Gallicised Reymond) was probably of German origin, but set- 
tled at Limoges, at least from 1534 to 1578. His works, usually signed, as here. 
" P.R.," but the letters sometimes surmounted by a crown — a punning allusion to 
the first syllable of his name — are still fairly numerous, the Louvre containing fifty- 
six. They are mostly in grisaille, and show the influence of Albert Durer, Virgil 
Solis, and' Ducerceau. 

1054- — Oval Dish. 

The slightly convex bottom is filled with a military subject, the surrender of a fortified 
city . The king and his ministers appear in the gateway and make obeisance 
to the conqueror, who, like his soldiers, is costumed in Roman armor. In 
the background are a wood, the broken arches of an aqueduct, and the city wall, 
above which appear two obelisks and a pillar monument reared upon a pyramid. 



This appears to be intended for a representation of the capture of a Jebusitc 
city by the Hebrews. The border is of grotesque human and animal forms, 
terminating in foliage. The whole is in grisaille, the flesh parts tinted with 
red, with details and ornaments in gold on black. On the reverse is a vase in 
which two cupids are burning their bows and warming their hands in the blaze. 
(The white outer edge is slightly chipped.) 

Signed and dated " P. R. [Pierre Reymondl, 1534 " 

Length, l2'/i inches ; width, inches. 

A replica of this dish, as to the principal subject, was in the Spitzcr Collection, 
dated 1557. From an inscription in the border of the last piece it appears that the 
design is intended to represent Abraham refusing the presents of the king of Sodom. 

The reverse of the Spitzer dish bore a design of Hercules leaning on his club. 



1055 — Ewer. 

The ovoid body has a strong band in relief about the shoulder, from which springs a 
gracefully curved handle, rising above the three-lobed mouth, like that of a classic 
cenochoe. The foot is short, with a nearly flat base. 

The principal decoration is in two zones or friezes, on either side of the 
connecting band, which is white, with light floral ornaments in black. The 
upper frieze has a grotesque procession of sea gods and monsters — winged, 
finned, horned, and snouted — against a background of grayish waves and 
clouds. In the lower is a combat of nude horsemen armed with spears and 
cimetars, and brought out in strong relief against a band of brilliant black 
enamel. The neck and the foot are decorated with finely designed acanthus 
foliage, and the latter has, in addition, an ornamentation of masks and inter- 
twined grotesques. The outer surface of the handle is white, with black orna- 
mentation to correspond with the band to which it is attached. The inside of 
the handle is black, with a seme of gold dots. The flesh parts of the figures 
and the inside of the lip are tinted pink. The darker shadows are hatched 
through the white enamel to the black ground. 

Though not signed, this must be considered a masterpiece of the difficult 
art of painting in enamels. The figures are painted with uncommon freedom 
and spirit. The graduation of the color effects from brilliant black and white 
at the bottom to delicate gray and pink at the top is most judicious, and every 
detail of the ornament enhances by its "tactile values " the beauty of the gen- 
eral form. It will be difficult to find a more perfect example of the artistic aim 
of the enamcller in grisaille, which was to add to a beautiful shape a decoration 
which should enrich it without breaking its lines, as a decoration in relief would 
do, or confusing them, as would a decoration in color. 

It is described by Mr. Claudius Popelin, than whom no greater authority 
can be cited, as the work of Jean Penicaud, the third, the chief glory of the 
school of Limoges, and it is worthy of that attribution. 

From the Spitzer Collection, Paris, 1893. 

Height, to top of handle, lljf inches. 

1056 — Low Tazza. 

With shallow bowl and low foot. The inside of the bowl is filled with a large circular 
composition, a "Triumph of Amphitrite." The goddess rides on a pair of 
dolphins, escorted by sea nymphs and tritons. A cupid flies in front, armed 



with bow and arrow. In the distance is a hilly landscape, dotted with trees 
and buildings, above which is a cloudy sky. The composition is framed with a 
border of foliated scrolls in gold on a black ground. On the exterior, within 
a border of oves, is a boldly ornamental composition of masks, architectural 
scrollwork, fruits, and flowers, with four oblong medallions containing nude 
figures of river and sea gods. The foot has festoons and bunches of fruits, 
scrollwork, and cherubim, with a guilloche border in red on white. Under 
the foot is an open rose in grisaille, and stars and flowers in gold semi on the 
black ground. 

From the renowned collection of Hollingworth Magniac, Esq. (known as the Colworth 
Collection). Sold at Christie, Manson, & Woods, London, 1892, at which sale it was bought 
for Mr. Marquand by Sir Charles Robinson. 

Diameter of bowl, xoyi inches ; height, 2H inches. 

1057- — Lavabo. 

In champleve enamel. The name belongs, properly, at present, to the shallow dish 
and the ewer with which the priest washes his fingers at the altar. Anciently, 
it was the custom to have two bowls; one with a spout, as the present example, 
which served as a ewer from which to pour the water; the other without a 
spout, into which the water was poured. The secular nature of the decora- 
tion — the coronation of a king, with a curious border of mountebanks and 
musicians — may be accounted for by the supposition that the bowl was a gift to 
some church in commemoration of the occasion depicted. 

The bowl is of thick copper, decorated in the interior with engraved 
figures on a background of blue enamel. In the centre, two figures place the 
crown upon the head of a youthful king, who holds a sword in his right hand. 
Of the enamel background only a few rosettes and jewels in turquoise, red, and 
white remain. The border consists of a series of semicircular arches, within 
which are dancers with sword and shield, harpists, and women turning somer- 
saults, representing, we may suppose, the popular fete given in honor of the 
coronation. The ground, in tine blue enamel, most of which still remains, is 
strewn with flowers in yellow, green, red, white, and turquoise. The flattened 
rim has a tooth ornament still partly filled with blue enamel, with an outer line of 
turquoise. A scale pattern is incised on the exterior, with a large Gothic " A" in 
the centre. A lion's head in relief forms the spout, and there is a ring for sus- 
pension. Limoges, thirteenth century. 

The border of mountebanks is not very unusual on bowls of the period. 
The female tumbler appears in an illuminated MS. in the British Museum as 
Salome dancing before Herod. 

From the Collection of Le Chevalier Kaoul Richards. Sold at Rome, 1890. 

Diameter, <)% inches. 

jQ5g Series of Four Circular Medallions. 

With heads of Roman emperors in grisaille enamel, framed in dark red velvet. The 
heads arc those of Julius Caesar, Augustus, Galba, and Domitian, and have been 
copied after the antique. They wear laurel wreaths in green enamel outlined in 
gold, and have gold inscriptions. (Slightly chipped.) 

Diameter of each enamel, 4^ inches. 



1059— Oval Plaque. 

Portrait of a lady. The background is blue, the flesh tints stippled, the dress bejewelled 
with transparent enamels over gold. The lady's hair is bound up with a parti- 
colored scarf fastened with a jewel from which hangs a jewelled pendant touch- 
ing her forehead. The eyes are blue. The chemisette, forming many small 
folds, is bordered with turquoise, set with jewels. A raised border, simulating 
a frame, is of black enamel, with foliated scrolls in gold, spaced with jewels in 
translucent enamels imitating rubies, emeralds, sapphires, amethysts, aventurine, 
etc. This has been slightly chipped. The plaque is bound in brass, with a 
ring for suspension, and has been mounted on velvet and framed. 

Signed " L. L." [Leonard Limousin.] 

Length of the enamelled plaque, is inches ; width, inches. 

This plaque was obtained in Spain by Mr. Jacques Seligman, Paris, from whom it 
was bought by Mr. Marquand. It appears to be one of a series of portraits of royal 
and noble persons, after the best painters of the day, made by Leonard Limousin 
for Henry II. Three of these are in the Louvre. 

Leonard Limousin was throughout his career a court painter, having been the 
favorite, in turn, of Francis I., Henry II., Francis II., and Henry III. His works 
show him to have been influenced at first by Albert Dilrer, later by Primaticcio. It 
has been said of him, that " of all the cnamcllers of Limoges, he knew the best how to 
harmonize and combine all the technical processes known and practised before him." 
He painted for the Chateau d'Anet a series of plaques representing the twelve 
Apostles ; and other important works are a series of eighteen plaques after Dilrer's 
" Passion," portraits of Henry III. as Jupiter, and Catharine de" Medici as Venus, 
and the plaques of the great retable which forms part of the present collection. His 
best works were produced between 1532 and 1574. 



1060 — Large Circular Plaque. 

With head of " Lucrezia Romana," so inscribed in grisaille on a black ground. The 
borders of the scarf which ties her hair, and the borders of her garments are in 
brown and gold, and her mantle is fastened with a fibula in gold, in the shape 
of a rosette set with a triangular jewel in translucent green enamel. The 
frame is set with four plaques, repeating a design of a siren, with grotesque 
scrolls in grisaille and gold on a blue ground. 

Diameter of central plaque, ojf inches ; diameter over all, iSJ^ inches. 



1 061 — Screen or Retable for an Altar. 

Composed of twenty-one enamelled plaques, set in a beautifully wrought architectural 
frame of brass, in the style of Francis I., and mounted on a brass base. 

The retable is in three stages, the two lower containing each nine plaques, 
the upper three. The stages arc separated by richly chased friezes. Three 
vertical divisions are formed by pilasters with ornamental capitals, the lower ones 
decorated with trophies and festoons of fruits in high relief. The two lower 
divisions have at top an ornamental cresting; the central one terminates in 
a classic pediment flanked by urns; on the tympanum, in a wreath of enamel, 
is inscribed the name of the artist, Leonard Limousin, and the date, 1543. 
Each panel (with one or two exceptions) is signed " L. L." ; those with male 



figures, prophets, and Apostles, in gold, on the background; those with female 
figures, the sibyls, in black, on small white scrolls. 

The figures, one on each plaque, are denoted by attributes, and also by 
their names inscribed on long white banderoles which contribute a very striking 
part of the general effect. The Sybilla Delphica, twice repeated, bears in one 
instance the c r own of thorns; in the other a rose. The coloring is very rich; 
a translucent red, turquoise, and lapis-lazuli blue, violet, gold, and white pre- 
dominating. The backgrounds are black. Two panels, the "Sancte Paule" 
and the " Prophcte Moyses," appear to be by another hand, probably that of a 
favorite pupil, but finished by the master. 

Height of the retable, 42^ inches ; width of the ratable, 52 inches. 
Height of each plaque, 0, inches; width of each plaque, 4% inches. 

This retable is figured in Harvard's great " Dictionnaire de 1'Ameublement et 
de la Decoration," vol. ii. p Art. " Email." It was exhibited in the historical 
section at the Paris Universal Exposition of 1878, and is from the famous Beurdeley 
Collection. 

1062 — Copper-gilt Cross. 

With figures in full relief, and enamelled plaques applied. 

In the centre is a figure of Christ crucified; at the top, an angel, lean- 
ing forward from a metal boss; on either hand, at the ends of the horizontal 
arm, the Virgin and St. John ; at the foot of the cross, a nude figure rising 
from a tomb in an attitude of supplication. Together, the figures symbolize 
the scheme of redemption. They arc fastened to the cross by copper rivets. 

The face of the cross itself is richly engraved with Gothic foliage and is 
gilded, and is further adorned with enamelled plaques bearing inscriptions and 
figures of saints. 

At the back is a larger plaque, with a figure of Christ enthroned, and hold- 
ing the globe. His garments are enamelled red and green, the throne red, the 
background blue, with white pearls. The cross is engraved and gilt as in front, 
with the addition of the signs of the Evangelists engraved on the trefoils at the 
ends of the arms, the lower one of which is partly encased in a copper sheath. 
Limoges (?). Early thirteenth or late twelfth century. 

Size, 301 15ji inches. 
" I believe the earliest piece known." — J. Seligman, Paris. 

2063 Greek Church Triptych. 

Of wrought brass with enamels. On the three leaves are figures of Christ with the 
Gospels, in high relief, His Mother, and the Baptist. The background is of 
blue enamel with cloisons in the shape of leaves and flowers, filled with white 
and yellow enamels, and an ornamental border of white enamel. Abbreviated 
Greek inscriptions accompany the figures. The triptych is set in an old carved 
frame, so arranged that it can easily be taken out for inspection. 

Each panel, 7 x 6# inches; over all, as * >4 inches. 



Intaglios and Other Gems 



The following section is in no sense a "collection " of gems, but represents the 
wise selection of a keen and discriminating judge of the unique and beautiful in ancient 
and modern art. Though the objects are few in number, each is a masterpiece of its 
class, and combined they display a rare catholicity of taste. Every period of highest 
artistic excellence is here represented, from the beautiful Egyptian scarabteus (No. 1064), 
the earliest of all, to the handsome intaglios and cameos of modern times. Attention is 
especially called to the marvellous Greek and Etruscan gold jewelry, typical products of 
this early art, and chosen for their perfection of workmanship and preservation; to the 
three Greek gold coins (Nos. 1070-1072), as clear and sharp as when they fell from 
the dies more than 2,200 years ago; to the splendid specimens of ancient glyptic art, 
in particular the beautiful garnet quadriga, No. 1073; and to the Gothic seal ring, unique 
as a work of art and of high historic interest. 



1064 — Ancient Egyptian Scarabaus. 

Of hard stone, covered with tirm green, brown, and red enamel, remarkably preserved, 
and beautifully tinted by time. On the flat side are six rows of finely cut 
hieroglyphics. Length about ^ 

This is one of the finest specimens of its class. A similar specimen is illustrated 
in John Ward's " The Sacred Beetle " (New York, 1902). page 5. 



1065 — Etruscan Scarabceus. 

Of rich, dark carnelian, set in its original ancient gold swivel ring. Intaglio, within 
a typical Etruscan border, representing Herakles, or one of his suite, with club 
over his shoulder, filling an amphora at a fountain. Very fine Etruscan 
workmanship of about 400 B.C., or earlier. 



1066 — Ancient Gold Jewelry . 

In a silk-lined case, (a) A necklace consisting of twenty beads of beaten gold, many* 
ornamented with the finest filigree, alternating with seventeen Egyptian beads 
of colored glass and enamel, such as the Etruscans loved to import from Egypt 
in the sixth and fifth centuries B.C. ; and a pendant of amber. \ p i' a j n 



gold ring without design. Etruscan, (f) A pair of Efruscan gold filigree 
earrings in repoun'e work. Four small Etruscan gold earrings, decorated 

with filigree bulbs and points, (V) A Greek gold ring with design, in relief, 
of Leda and the Swan. 

In this collection of ornaments from Etruscan tombs every specimen is a master- 
piece of its class. 

1Q67 — Etruscan Jewelry. 

In a silk-lined Tiffany case, (a) A necklace or bracelet of pure gold. Twenty-two 
ox and rams' heads, with central pendant of a large bull's head crowned in the 
Egyptian style. A unique specimen, showing the highest perfection of ancient 
goldsmiths' work (seventh to fifth centuries b.c). {b) Pair of small gold filigree 
earrings, (c) Pair of broad gold filigree earrings. Very fine. 



1068 — Pair of Gold Bosses. 

In finest filigree design, and of great rarity. Etruscan workmanship of the fifth 
century B.C. 

2069 — Ancient Greek Ring of Pure Gold. 

With design in relief of a comic mask. Finest workmanship of the fifth or fourth 
century b.c. Perfectly preserved. 



1Q70 Greek Gold Coin (Stater) of Lysimachus, Successor of Alexander 

the Great, and King of Thrace [B.C. 323-281). 

Obverse, head of the deified Alexander as Jupiter Ammon, with the horn of Ammon 
over his ear. Reverse, « BASIAEfJS AY2IMAXOY." Pallas Niiepboros seated, 
holding a small image of Victory. In most perfect preservation. 



2071 Greek Gold Coin (Stater) of Philip II. of Macedon (B.C. 33 Q- 

336), the Father of Alexander the Great. 

Obverse, youthful head of Apollo to right. Reverse, a btga. Under the horses a 
kantharos as symbol. In the exergue, "<MAinnOY." Perfect preservation. 

2Q72 Greek Gold Coin (one-twelfth of Stater) of Philip II. of Macedon. 

Obverse, as on the stater above. Reverse, a winged thunderbolt and the name 
" *IAIIinOY." Basket as a symbol. Beautifully preserved. 



1073 — Intaglio. 

Dark oval garnet, set in modern gold pendant as watch-charm. The cutting repre- 
sents a goddess (Aurora) urging forward a spirited quadriga. Finest Grseco- 
Roman work of the best period. A gem of great rarity. Unfortunately 
broken, but without injury to the design. 

1074 — Intaglio. 

Set in a modern ring of massive gold. Draped bust of a bearded Greek philosopher 
or poet. Grjeco-Roman cutting. 

1075 — Intaglio. 

Antique, set in a modern gold ring. Yellow-tinged carnelian. Mars (or perhaps 
Perseus, as he has the Medusa-head on his shield) contemplating his armor. 
Fine workmanship. 

1076 — Massive Gold Eighteenth Century Ring. 

Set with three antique Roman gems, (a) Yellow sard. Intaglio of a helmeted 
Roman soldier represented as Mars, with spear and patera. Third century 
a.d. (h) Cameo in white onyx. Cupid head, (c) Black agate. An ant 
as a talisman. Second or third century a.d. 

1077 — Intaglio. 

Carnelian. Jupiter, riding over the clouds in his four-horse chariot {quadriga), hurls 
his thunderbolt. Splendid workmanship. Set in modern brooch. 

1078 — Intaglio. 

Viccolo. A Greek youth engaged in a religious ceremony. Ctone set in a modern 
gold ring. 

1079 — Intaglio. 

Onyx. Dark brown on white. A Roman soldier taking his oath. Clad in military 
garb, he stands between two fully armed soldiers, and places his hand upon the 
altar. A seated official presides at the ceremony. Very fine Roman work of 
the Antonine period (second century a.d.). Heavy modern gold mounting as 
a ring. 

1080— Intaglio. 

Onyx. Brown upon white. A nude man seated on a rock lets a goat drink from a 
bowl. The animal rises on his hind legs, with his paws familiarly on the 
man's knees. Roman. Set in a modern gold ring. 



1081 — Modem Gold Ring. 

Richly decorated, set with two antique intaglios, (a) Green jasper, striped with red. 
A lion walking. Above, a mystic character. (A) Hard red jasper. Minerva 
(or Rome so personified) in full panoply, advancing to the right, bearing a 
trophy of arms. Roman or Syro-Roman work of the second or third century 
a.d. Interesting. 

1082 — Intaglio. 

Sard. A man milking a goat. Roman work of the third century a.d., in its original 
silver ring. A rare curiosity. 

1083 — Intaglio. 

Onyx. Draped bust of a Roman emperor in the style of the third century a.d., 
perhaps Postumus, Emperor in Gaul (a.d. 258-267), wearing radiate or spiked 
crown. Unique and very interesting. Set in a small early modern gold and 
silver ring. 

1084 — Intaglio. 

Set in a modern gold ring. Red jasper. A Syrian armed god standing upon a 
mountain. Romano-Asiatic symbolic seal of the third or fourth century a.d. 



1085 — Cameo. 

Yellow on brown onyx. Bacchus and his train of fauns and satyrs discovering the 
sleeping Ariadne as abandoned by Theseus. Very fine cutting, set as a brooch. 

1086 — Intaglio. 

Onyx, set in a gold ring. Psyche seated, holding a butterfly by the wings — sym- 
bolic of the human soul. 



1087 — Cameo. 

In two layers of onyx. The portrait, in opaque cream color, marvellously tinted 
by nature and time, on a transparent brownish-yellow background. Laurel- 
crowned bust of a Roman of the period B.C. 100— a.d. 100, with shoulders 
draped. There is no marked likeness to any of the "Cassars"; perhaps a 
prince of the Claudian house is intended. If not ancient, the cutting is 
extremely fine settecento work. 

Length, 2}» inches. 

1088 — Intaglio. 

Translucent yellow onyx. Filleted bust, draped, of a Greek statesman or sage. A 
splendid portrait, magnificently cut. 

Length, 2 inches. 



1089 — Ancient Sassanian Conical Seal. 

Of dark translucent stone. The Zoroastrian god Ahura Mazda (Ormuzd), with 
how and outstretched arm. By far one of the finest of these early Persian 

religious seals. 

1090 — Intaglio. 

Carnelian, set in old ring of beaten gold. Octagonal seal, with long inscription in 
Turkish characters: "Ya Rabb darain Khalil mazhar i izzaolah; " i.e., "0 
Lord, mayest Thou make auspicious the two abodes of Khalil " (name of the 
owner of the seal). 

1091 — Intaglio. 

Scaraboid of aquamarine, pierced lengthwise. The scene represents probably the 
" Choice of Hercules." At the left, a tall female figure with a flowered staff, 
or branch, upright. At right, another draped female figure, with a long wand, 
placing her hand on the head of a boy, who looks up at the first figure. An 
eagle flies above the boy's head. A beautiful stone, and a masterpiece of 
technique. Probably of the eighteenth century. 

1092 — Intaglio. 

Striped agate, set in a gold ring. Mars, seated, receives a curious object shaped tike 
a boomerang from an old satyr. Modern. 

1093 — A Large Emerald. 

Set in a massive and very richly wrought gold ring of the eighteenth century. 

1094— Cameo. 

Creamy onyx on bluish gray. Full front head of a youth, beardless, with long, 
wavy hair, and tunic over his shoulders. Early modern work. Cracked and 
mended. 

l ength, i% inches. 

1095 — Intaglio. 

Carnelian. Eighteenth century bust of a gentleman. Very fine French workman- 
ship. Set as a seal, with the original gold mounting. 

1096— Intaglio. 

Striped agate. Venus borne over the sea on the back of a dolphin, accompanied bv 
two sea nymphs (Nereids). Little Cupid, flying ahead with a torch, guides the 
way. Eighteenth century work of an Italian gem-cutter, in old setting, as I 
brooch. 



1097 — Intaglio. 

Carnelian, set in gold ring of recent make. Vulcan forging the armor of Mars. At 
the left of the toiling god sits Mars upon a pile of armor. Venus is standing 
beside him, pointing to the hot metal, and Cupid plays at his feet. At the 
right, in a group, Juno seated, Jupiter, and Mercury. Very fine early modern 
work. 



1098 — Cameo. 

Onyx, with highly decorated gold mounting, as a breastpin. A Medusa head of 
masterly workmanship. Early modern cutting. 



1099 — Intaglio. 

Oriental carnelian, set as a brooch. Neptune seated upon the surface of the sea, 
supported by a dolphin. A kneeling nymph places upon his knees a child. 
Signed " IIOAYKAEITOY," "of Polykleites." 

This and the following gem arc from the collection made by the order of Prince 
Poniatowsky, of Poland, at the end of the eighteenth century. Every stone was chosen 
for its exquisite beauty and purity, and the classic design was entrusted to the best 
Italian gem-engravers of the period, who signed with a fictitious Greek name. 



1100 — Intaglio. 

Oriental carnelian. Signed " ASIlAXlOY," " of Aspasios." From the Prince Ponia- 
towsky Collection, as the preceding. An aged Homeric warrior sits mourning 
on a pile of arms. The spirit ("shade") of an old man flies toward him, ex- 
tending his hand above his head. Perhaps ./Eneas and Anchises are intended. 



Intaglio. 

Yellow sard, set in gold as a watch charm. Winged Psyche confounds her two 
jealous sisters. Signed Beltrami. The work of a modern Italian gem-engraver, 
a master of his art. 



2202- Superb Early Gothic Gold Seal Ring. 

In a small leather jewel case, with an impression of its seal. The ring is of early 
French work, as shown by the mark on the inside of the hoop — a slipped fleur- 
de-lis, surmounted by a crown. The hoop is elegantly engraved with a floral 
scroll, and the bezel has a half-length figure of an angel holding the ends of a 
scroll, on which is inscribed, in old French characters, the name of the person 
for whom the ring was made — M. Lemacon — probably a dignitary of the 
Church. It was probably made about 1380 — certainly not after the first quarter 
of the fifteenth century — and is one of the finest examples, if not the finest, of 
Gothic rings in existence ; certainly not surpassed by any of those in the British 
Museum or Bibliotheque Nationale. It was formerly in the collection of the 
Earl of Londesborough. 



Snuff-boxes, W itches, and 
Other Cabinet Objects 

1103 — Porcelain Box. 

Gold mounted. Decorated inside and out with vignettes a la Watttau. 

\\§± — Lad?s Small Gold Watch. 

Decorated with transparent green enamel and a design in colors, of Boreas carrying 
off Orithyia. Eighteenth century. 

1 105 — Small Oval Box. 

Of variegated agate, encrusted with gold, wrought a jour, in the style of Jean Berain. 

HOG — Small Oblong Box. 

Of silver. Gilt in the interior, oxidized on the exterior, and chased with a foliated 

pattern. 

1 107 — Finger Ring. 

Chased and enamelled in white and colors, in the style of the sixteenth century. 

1108 — Oval Box. 

Gold. Decorated in enamels, with trophies of musical instruments, on a yellow 
ground, with borders of convolvulus flowers and leaves on a blue ground. 
Eighteenth century. 

1109 — Oval Box. 

Gold. Decorated in transparent blue enamel, with a chatoyant effect, and bearing 
a design in miniature of a sacrifice to Eros. 



1110 — Circular Gold Box. 

In the style of Louis XV., bearing five beautifully executed miniatures in enamel, of 
fetes chamfetrti. In a velvet case. 

1111 — Large Ova/ Box, 

Of variegated agate, the cover of gold, framing a miniature, signed and dated V. Blaren- 
berghe, 1775, giving a view of a fortified city in the distance, with a battle in 
progress, and troops on the march, and in the foreground a group of cavalry 
officers. 

Louis van Blarenberghe was one of the most celebrated miniaturists of the 
eighteenth century. He was born at Lille in 1719, the son of a Flemish artist. He 
became noted for his microscopic paintings of military and naval subjects and land- 
scapes, and was sent to Brest in 1773 to paint views of that fortress and port for the 
Ministry of Marine. His miniatures are highly prized in France, and 25,000 or 
30,000 francs have frequently been paid for one of them. 



1112 — Watch. 

Of the so-called " onion " pattern. Made by Leonard Bury, at Basle. In a silver 
case wrought with foliage and figures. 



H13 — Oval Miniature of a Lady. 

Framed in gold. 



1114 — Watch. 

By Gregson, of Paris. In a gold case set with pearls and decorated on the back with 
chatoyant blue enamel. In an outer case of silver, enamelled, and bearing a 
design of a seaport on the back. 

Gregson was horlogier du roi to Louis XVI. 



1115 Old Dutch Watch. 

Of " Nuremberg pattern," the dial painted with a view of a warehouse and ship. In 
a silver case, with a silver outer case embossed with figures and foliage. 



1H6. — Scent Bottle. 

Of porcelain, gold mounted. In the form of a monk carrying a basket and a goose, 
with a young woman bundled up in a sheaf of wheat on his back. 



1117 — Pendant. 

In carved and tinted ivory, representing a nun reading in her cell, with crucifix and 
skull by her side, framed in an elaborate composition of cherubim and strap 
work, gilded, and toned with various colors. Italian work of the sixteenth cen- 
tury. In a more recent frame of hard wood, carved with cherubs' heads in 
clouds, by FYullini, of Florence. 



1118 — Two Portraits, Man and Woman. 

Carved in hone stone, in high relief. The man wears the collar of the Golden 
Fleece, and each portrait bears in relief in the background a shield armorial, 
with the double-headed eagle and the date 15 19. German work. Six- 
teenth century. 

From the renowned collection of Hollinfrworth Magniac, Esq. (known as the Colworth 
Collection). Sold at Christie, Manson & Woods, London, 1892, and at which sale was bought 
for Mr. Marquand by Sir Charles Robinson. 



Rare and Beautiful Antique 
Persian and Other Tiles 



H19 — Fragment of a Tile. 

Of hard paste and silicious glaze. Decorated with a rich diaper pattern in soft, warm 
green, with arabesque reserves in white, outlined in blue, with a finer outline of 
black, between large leaf and flower scrolls borrowed from the Chinese peony 
decoration. Damascan (?). 

Height, ii inches; width, - '• inches. 

1120— Tile. 

With a large floral scroll, the flowers in two shades of blue, with turquoise centres, 
bearing smaller flowers in white, outlined in blue. The blue leaves are similarly 
decorated with small white flowers and turquoise leaflets. Haste and glaze like 
the foregoing. 

Height, 10 inches ; width, lo inches. 

1121 — Large Tile. 

Of hard paste and silicious glaze. Decorated with a rich diaper pattern in soft, warm 
colors, with reserves in white, outlined in blue, between large leaf and flower 
scrolls of peony pattern. 

Height, ii inches; width, n inches. 

1122 — Monumental Tile. 

In the form of a doorway, with a central pillar and panelled doors. There is an oblong 
inscription in relief over the door. The lower part, restored, is covered with 
a greenish varnish, which covers, also, part of the original turquoise glaze. 

Height, 21 inches ; width, 14 inches. 

1123— Copper Tile. 

From the upper part of the back of a niche, or " mihrab," in the form of a triangular- 
headed opening, filled with large arabesques in relief, and bearing an Arabic 
inscription on the frame of the opening. The paste in this and the foregoing 
is coarse and hard. The turquoise glaze has chipped away a little in places. 

Height, 17 inches ; width, i8>4 inches ; depth, 3 inches. 



1124— Gold-lustre Tile. 

Framed. Being half of" an eight-pointed star tile. Within an outer border of Arabic 
inscriptions, the decoration consists of radiating arabesques, reserved from the 
Iustred ground, which shows rich golden reflections, changing to emerald in 
some lights. Old Persian. Probably of the thirteenth century. 

Height, s)4 inches ; length, n inches. 

1125 — Brown-lustre Tile. 

Being the greater portion of an X-shaped tile. There is, as usual, an outer border, 
with inscriptions, within which are arabesques reserved in the creamy white 
glaze from a general ground of lustre, which shows brilliant crimson, blue, 
green, and golden reflections. Old Persian. 

Height, 7J4 inches ; length, xa inches. 

1126 — Large Star-shaped Tile. 

Framed. Within the usual border of inscriptions are four highly conventional tree 
forms crossing, reserved in white on the brown lustre, which has mainly golden 
and coppery reflections, with sparks of green. Old Persian. 

Height, 12 inches ; width, is inches. 

1127 — Large Octagonal Framed Panel. 

Composed of four half-star-shaped tiles and one X-shaped tile, to show the manner of 
their fitting together in wall decoration. The spaces left between the tiles and 
the frame are filled with plaster, colored turquoise blue, and decorated with fern 
leaves in gold, to be at once distinguished from the tiles, which are of fine 
brown or copper lustre, with varied and intense metallic reflections. The 
patterns are of arabesques in reserve, with borders of inscriptions. One of the 
half-star tiles shows the effect of the blistering of the glaze in the furnace. 
Old Persian. 

Height, 12 inches ; width, 12 inches. 

•1128— Mosque Tile. 

Part of a frieze which included the two following tiles. The inscription, in large 
letters, in relief, and colored ultramarine blue, is in the style called Nasch, the 
next in point of antiquity to the Cufic, and the most picturesque of all the 
Arabic styles of writing. The ground is of brown lustre, with rich crimson 
and green reflections, filled with foliated scrolls in reserve, and tinted with tur- 
quoise. The upper, projecting border bears lustre inscriptions; from the lower 
border the lustre has been worn away. Probably old Persian or Anatolian of 
the fourteenth century. 

Height, ■}% inches ; length, 15 inches. 

* It is pretended that tiles with raised blue inscriptions on a ground of brown 
lustre were first made for the tomb raised to Mahomet at Iiroussa, in the four- 
teenth century. 

The inscription, running across all threel'tiles, has been translated : ■• [In the 
name of God] the just, the very just ; WC have believed, therefore forgive us, and for- 
give your prophet, whom you sent." 



* 1129 — Mosque Tile. 

Similar to the foregoing; the inscription on the lower border almost effaced. 

Height, 7)£ inches; length, 15 inches. 

#1130 — Mosque Tile. 

Similar to the foregoing. Height> Jj6 inches . ^ph, , 5 inchcs 

1131 — Panel. 

Set with six antique star-shaped tiles decorated in brownish or copper lustre, some 
with the addition of blue and turquoise. One is ornamented in relief, with a 
bunch of gracefully drooping flowers. The other designs — rabbits and a tree, a 
tree with interlacing branches, and various arabesques — are characteristic of the 
thirteenth and fourteenth centuries. The rich metallic reflections range through 
every color from blue to crimson. Old Persian. 

Height, 51 inches ; width, 10 inches. 

1132 — Panel. 

Set with six antique star-shaped tiles. One has a design in relief of a kingfisher 
flying up from among flowering reeds. Among the other subjects are dogs and 
arabesques, a spray of conventional flowers, with fishes in a pool underneath, 
and a gracefully branching plant whose branches end in grotesque heads. The 
colors are brownish lustre, with intense metallic reflections, creamy white, 
ultramarine blue, and turquoise. They are probably of the thirteenth to the 
fourteenth century a.d. Old Persian. Heighti 5 „ inches . width I0 inches 

1133 — Framed Tile. 

Star shaped, with a very deep, thick, vitreous lapis-lazuli glaze, decorated with fern 
leaves in gold, outlined with brown over the glaze, and the ground filled 
with small white dots and scrolls, also fired over the glaze. The gilding is 
slightly worn. Old Persian. Height _ s incbes . ^ 8 

These lapis-lazuli tiles, with gold decoration over glaze, are of great rarity and 
are very highly prized. They are referred by Mr. Henry Wallis, probably the best 
living authority on Persian tiles, to the thirteenth century, but they are much rarer 
than even the lustred tiles of that period. 

1134 — Framed Tile. 

Star shaped. Similar to the foregoing. Heighti g jnches . ^ , inches . 

1135 — Hexagonal Tile. 

Framed, with a symmetrical design of floral scrolls in dark blue and turquoise on a 
ground of brilliant, slightly greenish white. Old Damascan. 

Height, 10% inches ; width, inches. 

* It is pretended that tiles with raised blue inscriptions on a ground of brown 
lustre were first made for the tomb raised to Mahomet at Broussa, in the fourteenth 
century. 

The inscription, running across all three tiles, has been translated : " [In the 
name of God] the just, the very just; we have believed, therefore forgive us, and for- 
give your prophet, whom you sent." 



1 1 36 — Star-shaped Tile. 

Framed. The decoration is of arabesque foliage reserved in white on a ground of 
brownish lustre, with a broad line of blue separating it from the customary 
white border, with inscriptions. The play of color with reflected light is 
exquisite, showing mainly a vivid blue, changing in spots to rose color and 
gold. (Repaired.) Old Persian. 

Height, 9 inches ; width, 9 inches. 



1 137 — Star-shaped Tile. 

Framed. It is decorated in brownish lustre, with blue, golden, and red reflections, 
with arabesques in white, reserved, and has the usual border with inscriptions. 
(Repaired.) Old Persian. 

Height, 9 inches ; width, 9 inches. 



1138— Tile. 

Part of a continuous wall decoration. It shows one arch of an arcade, with a hang- 
ing lamp and inscriptions, surmounted by a frieze which is decorated with 

flowers. The colors are those that mark very early polychrome tiles olive 

green, turquoise blue, and white. 

Height, 9 inches ; width, 9 inches. 



U39 — Series of Twelve Old Spanish Azulejos, or IF all Tiles. 

From the palace of Charles V., on the Alhambra Hill. The designs arc flower 
pots with flowers, separated by fleurs-de-lis, cornucopias with scrolls and fleu- 
rons, and an arabesque interlacing floral pattern. The decoration is all outlined 
in relief, in the Moorish manner. The coloring is in blue, green, and yellow, 
the latter color in some cases giving golden and rose-red metallic reflections. 
Old Spanish. Sixteenth century. 

Length of panel, tiles only, 60 inches ; height, 5 inches. 

1140 — Panel of Twelve Old Spanish Azulejos. 

Similar to the foregoing. 



1141 — Pilaster Panel of Four Azulejos. 

The subjects are a flower vase with Spanish thistle, a crowned head in a wreath, 
cornucopias, and a vase with flowers. The colors are deep blue, ochreous 
yellow, and dark red, on a ground of variously toned white. Old Spanish. 
Sixteenth century. 

Height of panel, tiles only, 28 inches ; width, 5 inches. 



1142 — Pilaster Panel of Four Azulejos. 

Similar to the foregoing. 



*1143 — Three Oblong Tiles. 

With arabesques and cloud scrolls reserved in white on a ground of light green. 
Details in iron red. 

Height, 10 inches ; width, 43-i inches. 



#U44 — Three Oblong Tiles. 
Similar to the foregoing. 

Height, 10 inches ; width, 4 inches. 

*1145 — Three Oblong Tiles. 
Similar to the foregoing. 

Height, 10 inches ; width. 4 inches. 

*1146 — Three Oblong Tiles. 

Similar to the foregoing. 

Height, 10 inches ; width, 4 inches. 

*1147 — Ten Oblong Tiles. 

With conventional flowers and leaves in reserved white, turquoise, and iron red, on a 
ground of deep blue. 

Height, 10 inches ; width, 6 inches. 



*1148 — Six Tiles. 

On a white ground. Large compartments are traced in a fine iron red laid on so 
thickly as to form a relief. Within these compartments are bunches of roses 
and carnations, symmetrically disposed; the roses blue, the carnations red. 
Between them are other graceful floral sprays. The flowers are mainly blue, 
the leaves green, which has run a little into the ground. 

Height, inches ; width, 9^ inches. 



* The beautiful wall decorations described above are from the mosque of Rustem 
Pacha, in Constantinople, obtained through the courtesy of Mrs. E. C. Hobson. 
" The history of them is rather interesting, ' writes Mrs. Hobson. " A French den- 
tist there got a contract from the Palace to repair a very beautiful little mosque called, 
I think, the Rustem Pacha mosque, built by a grand vizier of that name in memory 
of his wife. The dentist abstracted a large quantity of the tiles, and replaced them by 
imitation ones made in Paris. He died soon after, and I purchased them through 
the good offices of the English consul-general, Mr. , a great collector, and con- 
sidered one of the best authorities on Eastern art. The entftes des fenfires are con- 
sidered most rare and beautiful; in fact, I douht if any like them ever left Constanti- 
nople before. The narrow blue tiles are also very precious and rare, and all are of the 
best period of Turkish manufacture. . . . Mr. bought a few for the Man- 

chester Museum. . . ." 

It is to be observed that " Turkish " does not necessarily mean of Turkey in 
Europe. Tiles similar to many of these are known to be from Kutahia, in Asia Minor, 
which has been a centre of the ceramic industry from the fourteenth century, when 
it was introduced there by Persian potters. 



*1149— Six Tiles. 

Similar to the foregoing. 



Height, 9 inches ; width, 9 inches. 



*1150 — Square Panel of Twenty-nine Wall Tiles. 

Framed. The ornamentation is of symmetrically disposed conventional flowers and 
buds, connected by lighter sprays; the coloring in two shades of blue, green, 
iron red, and the white of the ground. The border has a running scroll of 
leaves and flowers on a dark blue ground. 

Height, 38 inches ; width, 38 inches. 



*1151 — Square Panel of Forty Wall Tiles. 

Framed. Rich compartments outlined in red bear bouquets of carnations and other 
flowers in red, green, and reserved white on a deep blue ground. Between 
them are sprays of almond blossoms in blue, with red centres, and gracefully 
drooping carnations, sometimes red and blue, sometimes orange; the buds are 
red or orange, the leaves green. This exceedingly rich diaper pattern is framed 
by a strong border of lambrequin design, in which the splendid iron red greatly 
predominates, along with dark blue and green. 

Height, 48 inches ; width. 48 inches. 



*1152 — Square Panel of Twenty Wall Tiles. 

Framed. A diaper pattern of crossed leaf and flower sprays in red, blue, and green on 
a white ground is framed by a rich border of rose and carnation design, the 
roses mainly in two shades of blue, the carnations in two shades of red the 
leaves green, on a white ground. This uncommonly naturalistic border has 
yet, a splendid decorative effect. 

Height, 28 inches ; width, 38 inches. 

See note on No. 1160. 



*1153 — Square Panel of Twenty-nine Wall Tiles. 

Framed. A diaper of fusiform medallions, outlined with blue and filled with j 
besques in green, blue, and reserved white, on a ground of red, separated 
sprays in the same colors; has a border similar to that of No. 1151. 

Height, 40 inches ; width, 40 inches. 

• See loot-note under No. 1148. 



Mosque Tiles 



Ancient Persian wall tiles, inscribed with passages from the Koran, from a niche in 
a mosque, so set as to indicate the direction of the Cubical House, or temple, at iMecca, 
towards which the Muslim turns in prayer. 

From Persia, at least three hundred years old. Extremely rare and valuable, as it 
is almost impossible to obtain tiles from Mohammedan mosques, the veneration in which 
they are held precluding their sale, to non-believers especially. 

Translation of the inscriptions is by Mr. Abraham Yohannan, of Columbia 
University. 

(N. B. — The priest recites the passages of the Koran, while the worshippers pray, 
facing the niche.) 

1154 — Large Mosque Tile. 

With a broad, projecting cornice and narrow base. It bears an Arabic inscription, 
in raised Nasch letters, in blue, on a ground of brown lustre, with metallic 
reflections. The cornice has a quincunx of trefoils in relief. The ground is 
decorated with white reserved scrolls, flowers, and leaves, the larger leaves tinted 
with turquoise. In a handsome brass frame. Old Persian or Anatolian(?). 

Height, 21 inches; width, 19 inches. 
Translation: "In the name of the most merciful God." 

1155 — Large Mosque Tile. 

Similar to the foregoing. Framed in brass. (Repaired.) 

Height, 21 inches; width, 18 inches. 
Translation: "Whatever is in [heaven and earth] praiseth God." 

[These two slabs contain only the invocation and the first four words, 
respectively, of Suras lxii. and Ixiv.] 

— Large Mosque Tile. 

Framed in brass. Similar to Nos. 1 154 and 1155, except as to the inscription and 
the background decoration, which is richer. Birds fly among the foliated scrolls 
that twine about the letters of the inscription, and the cornice bears a design in 
relief of nightingales and rose bushes. Old Persian or Anatolian(r). 

Height, 17 inches; width, 16 inches. 

Translation: "A fountain [whereof the servants of God] shall drink." 
[Being the first two words of Sura lxxvi., verse 6.] 



1157 — Pilaster. 

From the revetment of a mosque. It is composed of four tiles in semicircular relief, 
with a vase-shaped capital, and hevelled borders bearing inscriptions. Pilaster 
and capital arc covered with interlaced foliated ornamentation in ultramarine 
and turquoise, on a ground of brownish lustre, with rich golden, crimson, and 
blue reflections; the ground strewn with delicate leaf and flower scrolls in 
white, reserved. It is mounted in a metal frame. Old Persian or Anatolian(?). 

Height, 53 inches. 

(0 " Which, therefore, of your Lord's benefits will ye ungratefully deny? We will 
surely attend to judge you, O men and genii, at the last day. Which, therefore, of 
your Lord's benefits will ye ungratefully deny? O ye collective body of genii and 
men, if ye be able [section missing] deny? (2) This is hell, which the wicked deny 
as a falsehood; (4) they shall pass to and fro between the same and hot. boiling 
water. Which, therefore, of your Lord's benefits will ye ungratefully deny ? But 
for him who dreadeth the tribunal of his Lord, are prepared two gardens. [Which 
therefore, of your Lord's benefits will ye ungratefully deny?] Planted with shady 
trees. Which, therefore, of your Lord's benefits will ye ungratefully deny' In 
each of them shall be two fountains flowing. (3) Which, therefore, of your Lord's 
benefits will ye ungratefully deny? In each of them shall there be of every fruit 
two kinds. Which, therefore, of your Lord's benefits will ye ungratefully deny ? 
They shall repose on couches, the linings whereof shall be of thick silk interwoven 
with gold; and the fruit of the two gardens shall be near at hand together." 

[Being from Sura Iv., verses 30 to 54 inclusive; but the tile has here 
been cut into sections for ease in removal or transportation, and verses 3-1 to 
43 are wanting, which should come in the break indicated. Also, in piecinc 
together, the third and fourth sections are misplaced, as indicated above 
They should be arranged in reverse order.] 



(1) " In the name of the most merciful God. By the sun, and its rising brightness - 
by the moon, when she followeth him ; (2) by the day, when he showeth his splendor; 
by the night, when it covereth him with darkness; by the heaven and Him who built 
it [section missing] by the day, when it shincth forth: by Him who hath created 
the male and the female; verily your endeavor is different. (4) Now whoso is 
obedient, and feareth God, and professeth the truth of that faith which is most excel- 
lent; unto him will we facilitate the way to misery; and his riches shall not profit 
him when he shall fall headlong into hell. Verily unto us appertaineth the direc- 
tion of mankind; (3) and ours is the life to come and the present life. Wherefore I 
threaten you with fire which burnetii fiercely, which none shall enter to be burned 
except the most wretched; who shall have disbelieved and turned back. But he who 
strictly bewarcth idolatry and rebellion shall be removed far from the same who 
giveth his substance in alms." 

[Being parts from Sura xci. and xcii. This side corresponds with the 
other side above, and is cut into similar sections, misplaced. The present 
order, and the lacuna, are indicated.] 



1158 — Memorial Mosque Tablet. 

In the form of a doorway, in two sections. Above the pointed trefoil arch are two 
circular openings, reminding one of Venetian Gothic architecture. * The arch 
springs from rounded pilasters with vase capitals, like No. 1145. It is framed 
in a wide border, with a large outer moulding. The entire tile is covered with 
Arabic inscriptions in raised blue letters, excepting on the pilasters, where the 

* The use of the openings is to lighten the masonry above the arch. 



letters are reserved in white from the general ground of brown lustre, with 
rich metallic reflections. Old Persian or Anatolian(?). 

Height, 4654 inches; width, 29 inches. 

Exhibited at the Paris Exposition of 1878, where it obtained first prize in its class. 

" In the name of the most merciful God. Verily we sent down the Koran in the 
night of al Kadr. And what shall make thee understand how excellent the night of 
al Kadr is? The night of al Kadr is better than a thousand months. Therein do 
the angels descend, and the spirit of Gabriel also, by the permission of their Lord, 
with his decrees concerning every matter. It is peace until the rising of the morn." 
[Being the whole of Sura xcvii.] 

" God hath borne witness that there is no God but him; and the angels and those 
endowed with wisdom profess the same; who executeth righteousness; there is no 
God but him; the mighty, the wise. Verily the true religion in the sight of God is 
Islam; and they who had received the Scriptures dissented not therefrom." 

[Being the sixteenth and first part of seventeenth Sura iii.J 

" In the name of the most merciful God. Concerning what do the unbelievers 
ask questions of one another? Concerning the great news of the resurrection, about 
which they disagree. Assuredly they shall hereafter know the truth thereof. Again, 
assuredly they shall hereafter know the truth thereof. Have we not made the earth 
for a bed, and the mountains for stakes to fix the same? and have we not created 
you of two sexes; and appointed your sleep for rest: and made the night a garment to 
cover you; and destined the day to the gaining of your livelihood; and built over 
you seven solid heavens; and placed therein a burning lamp? And do wc not send 
down from the clouds that press forth rain, water pouring down in abundance, that we 
may thereby produce corn, and herbs, and gardens planted thick with trees ? Verily 
the day of separation is a fixed period: the day whereon the trumpet shall sound, 
and they shall come in troops to judgment; and the heaven shall be opened, and shalj 
be full of gates fur the angels to pa^s through: and the mountains shall pass away, and 
become as a vapor; verily hell shall be a place of ambush, a receptacle for the trans- 
gressors, who shall remain there for ages; they shall not taste any refreshment 
therein, or any drink except boiling water, and filthy corruption, a fit recompense for 
their deeds! For they hoped that they should not be brought to an account, and they 
disbelieved our signs, accusing them of falsity. But everything have we computed 
and written down. Taste, therefore: we will not add unto you any other than torment. 
But for the pious is prepared a place of bliss: gardens planted with trees, and vine- 
yards, and damsels with swelling breasts, of equal age with them: and a full cup. 
They shall hear no vain discourse there, nor any falsehood. This shall be their rec- 
ompense from the Lord— a gift fully sufficient— from the Lord of heaven and earth, 
and of whatever is between them; the Merciful. The inhabitants of heaven or of 
earth shall not dare to demand audience of Him; the day whereon the spirit Gabriel 
and the other angels shall stand in order, they shall not speak in behalf of themselves 
or others, except him only to whom the Merciful shall grant permission, and who shall 
say that which is right." 

[Being the first thirty-eight verses of the Sura lxxviii.] 



1 159 — Ogival Lunette or Entete de Fenetre, of Sixteen Polychrome Wall 
Tiles. 

A ribbon-like scroll, of conventional cloud forms in red, forms large compartments, 
across which wind more regular spiral scrolls, with flowers, mainly blue, varied 
with red and white; the leaves green, veined with red and flowered white; the 
whole on creamy white ground. The border is the Persian running scroll of 
leaves and flowers, in the same colors, on a ground of deep blue. 

Height, 29 inches: length, 56 % inches. 

See note on No. 1160. 



1160 — Ogival Lunette, or Entete de penetre. 
Similar to the foregoing. 

Height, 29 inches ; length, 56^ inches. 

The beautiful wall decorations described above are from the mosque of Rustem 
Pacha, in Constantinople, obtained through the courtesy of Mrs. E. C. Hobson. 
"The history of them is rather interesting," writes Mrs. Hobson. "A French den- 
tist there got a contract from the Palace to repair a very beautiful little mosque 
called, 1 think, the Rustem Pacha mosque, built by a grand vizier of that name in 
memory ol his wife. The dentist abstracted a large quantity of the tiles and 
replaced them by imitation ones made in Paris. He died soon after, and I 'pur- 
chased them through the good offices of the English consul-general, Mr. , 

a great collector, and considered one of the best authorities on Eastern art. The 
entiles des fenetres are considered most rare and beautiful ; in fact, I doubt if any 
like them ever left Constantinople before. The narrow blue tiles are also very pre- 
cious and rare, and all are of the best period of Turkish manufacture. . . . Mr. 
bought a few for the Manchester Museum. . . ." 

It is to be observed that "Turkish" does not necessarily mean of Turkey in 
Europe. Tiles similar to many of these are known to be from Kutahia, in Asia 
Minor, which has been a centre of the ceramic industry from the fourteenth cen- 
tury, when it was introduced there by Persian potters. 



Hispano- Moresque and 
Other Plates 



It is not believed that much of this ware has come down to us from the time of the 
Moorish occupation in Spain ; but much of it may have been made between the Spanish 
conquest and the expulsion of the Moors, and in places the Moorish potters were specially 
exempted from the decree of banishment. The mingling of Christian and Mahometan 
emblems, inscriptions, etc., is thus accounted for. 

That the aijofa'tnas, or dishes, were made rather for ornament than for use is 
shown by the holes for suspension which almost invariably appear in the rim, and which 
were made by the potter before firing the piece, the glaze frequently running into them. 

One of the technical peculiarities of Hispano-Moresquc is the modelling by 
repoussage, a relief on one side of the piece being accompanied by a depression on the 
other. The lustre in the more ancient pieces is of a golden-yellow cast, showing the 
presence of silver along with copper. In the later pieces copper is used alone; but 
the style of decoration, very broad and bold, appears to have hardly varied from the be- 
ginning. Something like it is found on old Egyptian lustred pieces, and on the very 
oldest Persian. The natural objects depicted arc those familiar on Persian pottery — vine 
leaves, tulips, carnations, the cypress, birds, fishes, etc. But the human figure is un- 
known, and there is no sign of Chinese influence having spread farther west than Anatolia. 



1161 — Circular Dish. 

Buff glaze, copper lustre, with varied reflections. The design is of birds alighting 
among sprays of carnations. The reverse is plain, but for a streak which is 
the potter's trial of lustre intended for another batch of dishes. 

Diameter. 14 # inches. 

2162 — Circular Dish. 

With sloping rim and umbilicus in the centre. The decoration, in brownish lustre, 
with golden reflections, shows a curtain with waving vertical stripes, and over 
it two large flowers. The border is of flowers and scrolls. The reverse has a 
large spiral. Diameter, 15 inches. 



1163 — Deep Plate. 

With a bouquet of carnations outlined in brownish black, the leaves blue and green, the 
flowers blue and liver colored, some in slight relief. The border has Chinese 
cloud scrolls in greenish black, with touches of green and blue. It has been 
liberally decorated in gold. The reverse has detached cloud scrolls in blue 
and green. Early Persian polychromatic ware, sometimes called Rhodian. 

Diameter, 11% inches. 



1164_ Plate. 

Similar to the foregoing, but with the fine green replaced by a yellower green, en- 
livened with turquoise, and the liver color by pink; no gilding; the general 
effect much inferior. Persian or Rhodian. 

Diameter, toj^ inches. 



1165 — Platter. 

With large flat rim, and umbilicus in centre; decorated in brownish lustre, with varied 
golden, blue, and ruby reflections, with a knob of leaves, and a border of simu- 
lated Gothic inscription; an outer border of spirally arranged compartments in 
slight relief, with flower scrolls and flat tint alternating. (Slight repair.) 

Diameter, 13^ inches. 



1166 — Platter. 

Similar to the foregoing, with simulated Gothic inscription about a central boss. The 
border has oblong bosses and tulip plants in relief, with fine linear decoration 
between, in pale brownish lustre, which shows bright golden, greenish, and 
crimson reflections. (Slight repair.) 

Diameter, 1354 inches. 



1167 — Deep Dish. 

With broad, sloping rim, and umbilicus in centre. On the rim are four large lobed 
leaves, to which relief has been given by deep incisions in the paste; between 
them are closed tulips and linear flower scrolls. There is an inner border of 
trefoils and other plant forms. In the hollow of the umbilicus, on the reverse, 
is a convolvulus flower, surrounded by spiral lines and free leaf decoration. 
Blue and silvery reflections. (Repaired.) 

Diameter, 15^ inches. 



11 — Deep Circular Dish. 

With a decoration of lozenge squares and guilloche pattern, in grayish-blue and brown 
lustre with green and gold reflections. The reverse is similar to the foregoing. 
(Repaired.) 

Diameter, i 5 # inches. 



HQQ — Circular Dish. 



With large curving rim, and umbilicus in centre. The latter bears an open tulip, 
and is surrounded by a ring of scrolls and dots. The rim has a ten-pointed 
star, the points terminating in loops, from five of which leaves spread out 
laterally. The lustre is of a brownish yellow with golden and ruby reflections. 
The reverse bears a spiral. (Repaired.) 

Diameter, 15}^ inches. 



1 1 70 — Circular Dish. 

Similar to the foregoing, but with 
rated with alternate bands of 
panels of arabesques on blue. 



a blue disk on the umbilicus, and further deco- 
arabesques and guilloche pattern, interrupted by 
(Repaired.) 

Diameter, 15 1 £ inches. 



1171 — Very Deep Circular Dish. 

With umbilicus divided by cross lines, in blue and copper lustre, into four compart- 
ments, filled in alternately with ornaments in blue and copper and in copper 
only. Reverse, convolvulus and spiral. Crimson and purple reflections. 
(Repaired.) 

Diameter, 15 J£ inches. 



1172 — Very Deep Circular Dish. 

With umbilicus. The rim is divided by four large, lobed leaves, relieved by in- 
cisions or depressions in the paste, covered with lustre with purple and gold 
reflections, and outlined heavily with deep blue, into compartments filled with 
jonquils and other flowers in lustre on the buff ground. 

Diameter, 15^ inches. 



1173 — Circular Dish. 

With slight umbilicus in the centre, with a twelve-petalled flower, alternately blue 
and lustred, bordered by spirally arranged, detached, serrate leaves; the rim has 
eight bunches of leaves in relief, outlined in blue. The lustre is yellowish 
brown with silvery and blue reflections. (Slight repair.) 

Diameter, 16 inches. 



1174 — Deep Circular Dish. 

With narrow rim, with a regularly balanced design of hyacinths and carnations in 
blue, pink, olive green, and turquoise, as in Nos. 1 163 and 1 164. The border, 
of cloud, leaf, and flower shapes, is in blue and olive. The reverse has detached 
flowers and groups of flowers. Persian or Rhodian. 

Diameter, 14 inches. 



1175 — Deep Circular Dish. 

The rim sloping at nearly the same angle as the bowl, and both divided into sixteen 
wedge-shaped compartments by ribs in relief, filled with elaborate linear designs 
and with small bosses in relief. The centre has a shield parted in four and 
charged with rosettes. The lustre is a yellowish brown with silvery reflec- 
tions. These dishes are usually ascribed to Valencia. 

Diameter, it% inches. 

Purchased in Spain, in 1885, for Mr. Marquand. by the artist Jose Villegas. 



1176 — Deep Circular Dish. 

With convex rim and umbilicus. The rim has large, toothed leaves in relief, out- 
lined in blue; the leaves, striped blue and lustre, alternating with others in 
lustre only, and two panels of tulip pattern. The lustre is yellowish brown 
with blue and violet reflections. (Repaired.) 

Diameter, 16 inches. 

1177 — Circular Dish . 

With umbilicus surrounded by a simulated inscription. The rim bears a six-pointed 
star with trefoil-shaped loops. The reverse has two streaks of rich green, to 
test the color for a different batch of vessels. The lustre is yellowish with 
sjrecnish and purple reflections. 

Diameter, 13^ inches. 

1178 — Circular Dish. 

With sloping rim and high umbilicus. The field of the bowl is divided by five 
broad bands of lustre, the intervening spaces filled with pomegranates in blue 
and lustre, and leaves in the latter. The rim is similarly divided in four. The 
lustre is brownish with silvery reflections. 

Diameter, 15X inches. 

1179 — Circular Plate. 

With slight umbilicus surrounded by simulated inscriptions. The rim has tulip 
plants and flowers in relief, in blue and yellowish lustre with blue and golden 

reflections. (Repaired.) 

Diameter, 12% inches. 

1180 — Deep Circular Dish. 

With concave rim and umbilicus. The rim is decorated with toothed leaves out- 
lined with blue ; the bowl with arabesques and guilloche in brown lustre with 
green and golden reflections. (Repaired.) 

Diameter, 15^ inches. 

1181 — Circular Dish. 

With curving rim and umbilicus, decorated with a shield bearing a deer in brown 
lustre, a simulated Gothic inscription, and a border of spirally arranged panels 
with scale pattern, floral design, and trefoils in lustre and blue. The lustre has 
purple and crimson reflections. (Repaired.) 

Diameter, 15^ inches. 



11S2 — Circular Plate. 

With conical umbilicus, spirally indented. The rim has large four-lobed leaves in 
relief. The lustre is yellowish brown with golden, crimson, and blue reflec- 
tions. (Repaired.) 

Diameter, 12% inches. 

1 — Circular Plate. 

With a slight umbilicus, which bears a shield outlined in blue and charged with a 
deer, as in No. 1181. The decoration is of spirally disposed panels in relief, 
flowers, scale pattern, and rosettes in blue and brown lustre with silvery 
reflections. 

Diameter, 15 inches. 

Purchased in Spain, in 1885, for Mr, Marquand, by the artist Jose Villegas. 

1 1 84 — Circular Dis/i. 

With umbilicus surrounded by a broad ring of blue. The rim has a fourteen-rayed 
star, the rays terminating in lenticular bosses. Theouter rim is blue. Brown- 
ish lustre with golden iridescence. (Slight repair.) ^. 

\ s r / Diameter, r6 inches. 

U85 — Deep Circular Dish. 

With a conical umbilicus, the flat top of which has a carnation flower reserved in 

the brownish lustre. The border is of herbaceous plants, some of the leaves 

outlined in blue. Golden and crimson reflections. Reverse, convolvulus 

flower and spiral. (Slight repairs.) 

\ o r ; Diameter, 16 inches. 

1186 — Deep Circular Dish. 

With conical umbilicus, decorated on the top with a carnation flower reserved in 
the brown lustre. The border is of spirally disposed panels on the rim, with 
ix large four-lobed leaves in relief, and colored in blue and lustre. Reverse 



si) 



like the foregoing. Golden reflections. 

Diameter, 16 inches. 

H87 — Deep Circular Dish. 

With umbilicus bearing a carnation flower reserved in the orange-brown lustre. 
The bowl has scrolls and leaves, some outlined in blue; the rims, four-lobed 
leaves, and feather-like ornaments thrown into relief by indentations in the 

Diameter, 16 inches. 



paste. Blue and crimson reflections. 



1188 — Circular Dish. 

Similar to No. 1 175 ; but the flat centre has been covered with a floral decoration in 
lustre, now nearly effaced. The original holes for suspension have been filled 
in, and there is a very neat ancient repair. Copper lustre with golden and 
pink reflections. Valencia. 

■ Diameter, inches. 

Purchased in Spain, in 1885, for Mr, Marquand, by the artist Jose Villegas. 



1189 — Deep Circular Dish. 

With umbilicus bearing a fuur-pctalled flower in reserve. The other decoration 
consists of detached leaves and flowers, some in relief. Brown lustre with blue 
and crimson reflections. 

Diameter, 15^ inches. 

H90 — Circular Dish. 

With conical umbilicus, the flat top bearing a flower reserved; the side spirally 
indented. The border is of leaves, separated by bands of guilloche pattern; 
the lustre brown with crimson and blue reflections. On the reverse are the 
usual convolvulus and spiral. (Repaired.) 

Diameter, 16 inches. 

1190a — Circular Dish. 

With umbilicus bearing a design of a cypress tree and vine. The rim has a thir- 
teen-pointed star bearing lobes, three of which are painted blue. The remainder 
of the decoration is in yellowish lustre with golden and pearly iridescence. 
Reverse, a spiral. Hispano-Moresque. 

Diameter, 16 inches. 

1190b — Circular Dish. 

With umbilicus bearing a conventional flower. The rim has spirally arranged lobes 
in slight relief, alternately charged with rude flower designs or covered with 
lustre. The lustre is yellowish with golden and pearly iridescence. Hispano- 
Moresque. (Repaired.) 

Diameter, 16 inches. 

1190c — Circular Dish. 

Large circular plaque of faience. Painted in blue and yellow with religious sub- 
jects; St. Veronica's towel with the head of Christ in the centre, with a border 
of angels in an arcade, and smaller borders of oves and wave pattern. Italian. 
(Repaired.) 

Diameter, iS inches. 

1191 — Large Plate. 

Antique Persian faience, invested with a soft ivory-white glaze. Decoration of 
Chinese inspiration. The centre medallion is composed of an interlaced diaper 
pattern in turquoise and cobalt blue. A wide outer border of clouded blue is 
ornamented with finely drawn floral and leaf scrolls in turquoise-blue enamel 
and white reserve. Reverse, a border of tree peonies amid elaborate leaf 
scrolls, painted in fine under-glaze blue. Sixteenth century-. 

Diameter, 15^ inches. 

1192 — Plate. 

Old Delft. Pale buff ground, with roses, tulips, and leaf scrolls rudely drawn in 
cobalt blue. 

Diameter, inches. 



1193 — Plate. 

Old Delft. Decoration of floral and leaf scrolls in cobalt blue on a soft creamv 
ground. 

Diameter, 11 inches. 

1194 — Plate. 

Old Delft. Rudely drawn decoration of flowers, palm, and other designs, painted in 
cobalt blue on a white ground. 

Diameter, 13}^ inches. 

U 95 — Old Delft Plate. 

Covered with a green glaze. Decoration of flowers, willow tree, and rocks, rudely 
drawn, and painted in cobalt blue. 

Diameter, 12 inches. 

U96 — Deep Plate. 

Old Chinese pure white hard paste. Decoration of Chinese warriors on horseback, 
willow tree, and conventional designs in fine under-glaze blue. Reverse, floral 
sprays and sceptre-head ornaments in mazarin blue. Six-character mark, 
Ch'eng-hua, 1465-1487. 

Diameter, 15 inches. 

^97 — Large Plate. 

Old Imari. In the centre medallion, blooming peonies and chrysanthemum. Wide 
outer border, decorated with lotus amid elaborate leafy scrolls. All of the 
ornamentations in under-glaze blue of dark and light tints. 

Diameter, 22 inches. 



Terra-cottas by Della Robbia 



1198 — Madonna and Child. 

In glazed terra-cotta. Three-quarters figure of Madonna holding nude, standing 
child, whose arms are about her neck. The figures, in high relief, are cov- 
ered with a fine white glaze, and are set in a niche glazed in light blue. Both 
mother and child have blue eyes. The curved surface of the niche and its 
outer faces are decorated with a superficial gilding representing vertical panels, 
floral scrolls, rosettes, and coats of arms. By Luca della Robbia. Fifteenth 

centurv - Height, t foot 6^ inches ; width, I foot 3>£ inches. 

From the collection of fimile Gavet, Paris. 

The general conception, as well as the pose and modelling, link this with some 
of the best known Madonnas of Luca della Robbia. It was first published in the 
" American Journal of Archaeology," 1894, p. 14; then by Dr. Bode in the " Denk- 
maler Renaissance Sculptur Toscanas," Taf. 229; in the "Jahrbuch, k. p, Kunst- 
sammlungen," 1900, p. 23 ; in the " Florentiner Bildhauer der Renaissance " 1002 
p. 170; and by Marcel Reymond in his " Les della Robbia," 1897, p. 204 and 
"La Sculpture Florentine,' Seconde Moitie du XV* Siecle, p. 174. a similar 
Madonna, with slight variations, is in the collection of Mr. Quincy Adams Shaw 
in Boston. 



1199 — Medallion Portrait of a Young Man. 

Glazed terra-cotta. Life-size bust of a young man, with face turned towards his 
right shoulder. The head is glazed in white, the tunic in colors. The back- 
ground is a rich blue, and the surrounding frame a polychrome wreath of leaves 
and fruit. By Andrea della Robbia. Fifteenth century. 

From the collection of Count G. Stroganoff. Diameter, 1 foot 10 inches. 

Portrait busts of a similar type are found in the Berlin Museum and the collec- 
tion of Prince Liechtenstein in Vienna. The Berlin bust is attributed by Dr Botie 
to Luca della Robbia in the "Jahrbuch k. p. Kunstsammlungen," iqoo r> W" 
"Florentiner Bildhauer der Renaissance," 1902, p. 187. " 

1200 — Boy with a Dolphin. 

Boy, glazed in white, holds a blue dolphin over his shoulder. The palmette below 
is glazed in green. In the works of the Robbia school, putti of similar type 
were frequently employed in the decoration of large reliefs, where they were 
represented as bearing garlands. By Andrea della Robbia. Fifteenth centurv. 

From the collection of Count G. Stroganoff. He 'ght, 1 foot 8 inches. 



01 — Life-size Statue. 

In colored faience. A child, seated, playing with a butterfly and a tulip. By 
Francois Duquesnoy. 

Francois Duquesnoy, an excellent Flemish sculptor, bom at Brussels in 1594, 
was better known by the name of Francois Flamand. About 1619 he went to Rome, 
where he became an intimate friend of Nicolas Poussin and worked many years. 
He excelled in the representation of infants, and was considered by some as the best 
sculptor of his time. Among his masterpieces are statues of Saint Susanna in Rome, 
and of Saint Andrew in the basilica of Saint Peter's. He was on his way to Paris, 
whither he had been invited by Richelieu, when he died at Leghorn in 1646. The 
Musee de Ciuny contains several of his works. 



2 Oil Painting on Glass. 

** The Annunciation." The Virgin kneels at a prie-dieu at the foot of a bed. The 
angel enters with lily branch and dove. The Father leans out of a circle of 
cherubim surrounded by clouds. The painting is on the back of a thick pane 
of glass cast to shape. French. Sixteenth or early seventeenth century. In 
a carved frame of the same period. 

Height, inches; width, l6}4 inches. 

This manner of painting succeeded the early, slightly fired gilt and painted 
designs under glass. The process is the reverse of that usual in painting in oils; 
that is to say, the outlines and accents are first painted, the broad masses naxt, and 
the background, frequently gilt, as here, last of all. It allows of no retouching. 
This is an uncommonly beautiful example of a rare and interesting branch of art. 



3 Carved and Gilt Frame. 

Of architectural design, with base, pilasters, frieze, and semicircular pediment all 
richly decorated; the frieze with children and grotesques, the tympanum with 
angels, and a rising sun bearing the letters I H S. The ornamentation is 
carved in the wood, and not, as is frequently the case, in gesso. 

Height, 39 inches; width, 19^ inches. 



4 Byzantine Panel. 

The little plaster panel, nearly square, is enclosed within a frame of thin silver ham- 
mered into a design of scroll work, bordered with bands of ornament. The 
Madonna is represented seated on a circular-backed throne decorated with a 
diaper of minute pattern. She holds up two fingers of her right hand, and has 
her left around the body of the infant Saviour, who is seated on her arm, resting 
his feet on her lap, and holding up a hand in the act of blessing. Behind the 
throne stand two angels, one holding a sceptre. The whole groundwork is of 
gold, on which the figures are pencilled in brown, the flesh parts being modelled 
with exquisite delicacy, and the draperies and accessories glazed with vermilion 
and overlaid with a minute network of ornamental designs. 



1205 — Louis XVI. Clock. 



A globe of blue lustre, with a zone in white enamel for the hours, and ornaments of 
clouds and foliage in ormolu, is surmounted by a cupid and supported by figures 
of the three Graces in dark bronze, enlaced with chains of flowers in ormolu ; 
on a triangular base of white marble, richly ornamented with anthemions and 
floral scrolls in ormolu. 

Height, 28 j£ inches 

Bought for Mr. Marquand by the late Richard M. Hunt. 

1200 — Old Veiietian Stamped Leather Wall Hanging. 

Large diaper pattern in silver and blue, with two shields armorial, surmounted bv 
cardinal's hats. Some small pieces restored. 



1207 — Antique Mosaic Panel. 

Of marble mosaic, showing four antique masks — comic, tragic, satyric, and Dionysiac 

under a thyrsus and shepherd's crook crossed, from which depend a Pan's 

pipe and cymbals or tambourine. The design is bordered with a fret pattern, 
interrupted by scattered branches, with rosettes at the corners. 

Length, 40 inches; width, 29 inches. 

Bought in Rome, 1888. 

1208 — Panoply of Arms. 

Shield, helmet, gauntlets, cuirass, spurs, chain and ball, mace, swords, halberts, of 
various shapes, the principal pieces engraved with various ornamental designs. 

1209 — Panoply of Arms. 

Helmet, cuirass, and other arms; not decorated. 

1210 — Suit of Plate Armor. 

With shirt of chain mail and long sword. 



1211 — Suit of Plate Armor. 

The cuirass and other parts engraved with armorial bearings and ornamental designs; 
with a shirt of chain mail and long sword. 



1212 — Large Old Italian Water far. 

With a mottled green glaze over a reddish body. It has two ribbed handles, a ban<i 
of lozenge decoration in relief about the shoulder, and is further decorated with 
a rosette and an escutcheon bearing the arms of the Medici family. 

Height, 34 inches. 



1213 — Large Old Italian Water Jar. 

Similar to the preceding. It bears inscribed the name "Gaetan Lottini," probably 
that of the maker. 



1214' — Marble Statue L' Inspiration. 

A vouthful female figure of life size, seated, singing, and playing on a harp of 
antique shape. The figure is of marble, the harp of silvered bronze; the 
base is of dark red marble. By Jean Gautherin. Dated 1887. 

Commissioned for Mr. Marquand by the late Richard M. Hunt. Exhibited by 
the artist at the Salon, Paris, 1887. 

Jean Gautherin, born at Ouroux Nievre, was a pupil of Cumery, Dumont, and 
of M. P. Dubois, and the recipient of numerous honors. 



SEVENTH AFTERNOON'S SALE 

(CONCLUDING SESSION) 

Saturday, January 31st, 1903 

BEGINNING PROMPTLY AT 2.30 O'CLOCK 

Embroideries and Textiles 



1225 — Japanese Cloth-of-gold "Kin-Kob." 

Scroll and floral designs on an olive-brown ground. 

Length, 40 inches ; width, 20 inches. 

1226 — Italian Medici Panel. 

Bold floral scrolls, in ruby red, on cloth-of-gold ground. 

Length, 29 inches ; width, 24 inches. 

j 227 Japanese Cut Velvet Panel. 

Arabesque and diaper patterns, in green, red, black, and white, on a terra-cotta ground. 

Length, S4 inches ; width, 28 inches. 

2228 Two Lengths of Japanese Silk Crepe. 

Jade-green ground, with peacocks, rabbits, and Grecian key pattern, in dark green and 
brown. 

1229 Antique Khiva Silk Velvet Panel. 

Green and salmon-pink stripes, with borders of archaic design. 

Length, 34 inches; width, 21 inches. 



2230 Unique Specimen of Persian Velvet — Early Fifteenth Century 

if red, olive, pink, and yello 
glass. 

Length, 21 inches ; width. 13 inclits 



Conventional flowers and birds, in beautiful tones of red, olive, pink, and yellow, on 
cloth of silver. Framed in mahogany ; under glass. 



1231 — Fragment of Venetian Cut Velvet — Fifteenth Century. 

Floral and scroll medallions, in cloth of gold, on a field of ruby red. Framed in 

mahogany ; under glass. 

Length, 34 inches ; width, 25 inches. 

1232 — Rich Venetian Velvet Panel — Sixteenth Century. 

Star-shaped centre medallions, surrounded by palmettes and conventional designs in green 
and gold, on a brilliant crimson ground. Framed in mahogany ; under glass. 

Length, 48 inches; width, 27 inches. 

1233 —Jardiniere Cut Velvet Panel— Louis XV. 

A medallion, with bunches of grapes and vine leaves, bordered with festoons of flowers 
and lace designs, dainty sprays and foliage in emerald green, violet, mauve and 
white, on cloth of gold. Framed in mahogany ; under glass. 

Length, 44 inches ; width, 24 inches. 

1234 — Chalice Veil — French, Seventeenth Century. 

The embellishment consists of an elaborate cross in the centre and four corner orna- 
ments, embroidered in silver thread, and the sacred carnation and tulip, exquisitely 
executed in silk needlework, the whole on a cream-white silk ground. Edged 
with silver lace. Framed ; under glass. 

Length, 28 inches ; width, 22 inches. 

1235 — Italian Renaissance Panel. 

Arras embroidery of bold floral scrolls, coat of arms, cranes, and fruit designs, in various 
colors of silk, on a gold ground. 

Length, 43 inches ; width. 19 inches. 

1237 — Length of Japanese Silk Brocade. 

Branches of peonies, in gold and green, on a rich brown ground. 

Length. iS yards ; width, 27 inches. 

1238 — Venetian Dalmatic — Seventeenth Century. 

Rich brocade, with gold, silver, and colored flowers. Silver galloon trimming. 

1239 — Italian Chasuble — Seventeenth Century. 

Elaborate floral and leaf scrolls, embroidered in gold, on cloth of silver. Bears a car- 
dinal's coat of arms. 

1240 — French Court Dress — Louis Quinze. 

Rich gold and silver brocade of floral design. Trimmed with gold lace. 

1241 — Italian Panel. 

Elaborate floral scrolls and medal 1 ion, embroidered in gold and silver thread and silk on 
red velvet. Gallooned and fringed. 

Length. So inches ; width. 14 inches. 



1242 — French Table Cover— Louis XV. 

Red damask, ornamented with crests, bold corner ornaments, and other designs, embroid- 
ered in gold thread and silks. Heavily fringed and bordered. 

Length, 63 inches ; width, 33 inches. 

1243 — Japanese Table Cover. 

Brown satin. Rich embellishment of peacock with spreading tail, embroidered with gold 
threads ; borders and corners ornamented with flowers and birds worked in low 
tones of silks. Heavy fringe border. 

Length, 69 inches ; width, 69 inches. 

1244 — French Bed Coverlet. 

Cut velvet, with conventional floral and leaf scrolls, in two shades of brown, on Scru 
ground. 

Length, 7 feet 4 inches ; width, 5 feet 4 inches. 

1245 — Early Renaissance Coverlet. 

Cream-color silk, elaborately embroidered with sacred flowers and foliated scrolls, in 
gold thread and green, yellow, brown, and blue silks. 

Length, 7 feet 4 inches ; width, 6 feet. 

1246 — Early Renaissance Curtains. 
A set of four, to match the preceding. 



Length, 7 feet 8 inches ; width, 3 feet 3 inches. 



1247 — Early Renaissance Lambrequin and Panel. 

A set 01 drapery for a bedstead canopy, to match the preceding. 

Lambrequin : Length, 19 feet 6 inches ; width, 11 feet 7 inches. 
Panel : Height, 6 feet 2 inches ; width, 5 feet 9 inches. 

1248 — Renaissance Genoese Cut Velvet Coverlet. 

Rich Venetian design of vases of flowers, bold foliated scrolls, and rampant lions, 
symbolical of Beauty, Industry, and Strength, in ruby red, on an old-gold ground. 
Heavy fringe border. 

Length, 8 feet ; width, 7 feet 9 inches. 

1249 — Persian Manilonka, or Portiire — Seventeenth Century. 

Floral scrolls, birds, and conventional designs, embroidered in various colors of silks, on 
red, blue, and fawn-color cloths. 

Length, 7 feet 4 inches ; width, 4 feet 4 inches. 

1250 — Venetian Coverlet — Seventeenth Century. 

Brocade with large flowers, palmettes, leaf and lace patterns, in gold thread and cream- 
color silk, on a brilliant green ground. Trimmed with gold galloon. 

Length, feet 6 inches ; width, 6 feet. 



1251 — It a lian Panel — Seventeenth Century. 

Known as arras embroidery. Hold Florentine scrolls, flowers, and a coat of arms two 

cupids holding a shield — worked in colored silks, on gold ground of solid needle- 
work. Fringed border. Lengthi to inches . width +Q 



1252 — Turkish Shawl. 

Rare specimen of Cashmere weaving. Natural pashmana camel's-hair cloth, richly 
embellished with an elaborate floral design, skilfully embroidered in various silks 
and gold and silver thread. I . engthi ^ inches . wfc , th> $2 inches 



1253 — Spanish Bed Coverlet — Seventeenth Century. 

Arabesques, medallions, and geometrical designs, embroidered on rose silk and white 
satin ; border embellished with various lace patterns in silver thread. 

Length, 6 feet 2 inches ; width, 5 feet 3 inches. 

1254 — Renaissance Altar Frontal. 

Medici cut velvet of rich ruby red, profusely ornamented with a cross and conventional 
floral designs, in intricate silver and gold bullion lacework in high relief. 

Length, 84 inches ; width, 26 inches. 

1255 — Italian Altar Frontal — Sixteenth Century. 

Bold Florentine scrolls, with study of lilies and birds, embroidered in gold thread and 
fine tones of green, yellow, pink, and blue silks, on a silver ground. In the 
centre is a medallion illustrating the scene of Christ being seized by Pontius 
Pilate's soldiers. An extraordinary specimen of solid needlework. 

Length. 70 inches ; width, 36 inches. 

1256 — Early Italian Renaissance Portitre. 

Embroidered in raised gold on mbv-red velvet. A centre medallion, formed by a cluster 
of grapes, surrounded by a laurel wreath and floral scrolls ; and pendants and 
corner pieces of floral and conventional design. 

Length, 6 feet 10 inches ; width, 5 (eet 

1257 — Portuguese Bed Coverlet — Seventeenth Century. 

Profusely embroidered in l>eautiful tones of turquoise blue, red, cream, and other colors 
on icru silk. The embellishment consists of scrolls, flowers, and a medallion 
containing a basket of flowers, two cupid's heads, and the inscription, " Post 
Exactam Hiemem, 1606." Blue satin and fringe border. 

Length, 8 feet 6 inches ; width, 7 feet 4 inches. 

1258 — Italian Bed Coverlet — Seventeenth Century. 

Bold floral and leaf scrolls, embossed on ruby- red velvet. Fringed border. 

Length, 9 feet 2 inches ; width, 7 feet 8 inches. 



1259 — Indo-Portuguesc Bed Coverlet — Seventeenth Century. 

Semi-oriental, elaborately ornamented with the conventional lotus, shi-shi lions, fleur- 
de-lis, coronets, and a medallion containing an eagle in flight, supporting a young 
girl. All embroidered in various silks and gold threads, on crimson satin. 

Length, 9 feet 5 inches ; width, 6 feet S inches. 

1260 — Elaborate Portuguese Balda china — Sixteenth Century. 

Hindo-Persian design of embroidery, in various shaded silks of finely blended colors, on 
ruby-color velvet. The embellishment consists of sacred flowers, leaf scrolls, and 
conventional patterns, surrounded by a wide border of turquoise blue, and a narrow 
border of sapphire blue. length, 13 feet ; width, 5 feet 6 inches. 

1261 — Italian Renaissance Panel. 

Specimen of ecclesiastical needlework. The design is a repetition of medallions with 
coats of arms on a background representing various sacred flowers and offerings, 
all embroidered in colored silks and gold and silver threads. Framed in mahog- 
any ; under glass. Length, 6 feet 3 inches : width, 5 feet. 

2262 Pair Empire Tapestry Panels. 

Vase filled with flowers and fruits, on red ground. Length, 4 feet ; width, 4 feet. 

2263 Sicilian Bed Coverlet — Seventeenth Century. 

Elaborate decoration of lilies, floral scrolls, and paroquets, forming a centre medallion 
and four corner ornaments, all embroidered in floss silk of brilliant colors, on a 
canary-yellow moire silk. Black net and embroidered border. 

Length, 8 feet 6 inches ; width, 5 feet 10 inches. 

j 264- Pair Italian Medici Door Curtains. 

Brillia nt red cut velvet on cloth of gold. Bold scrolls, conventional lilies, carnations, 
and cornucopias filled with offerings, forming the design. 

Each strip : Length, 7 feet 8 inches ; width, 3 feet 10 inches. 

2265- Indo- Portuguese Coverlet — Seventeenth Century. 

Bold floral designs and leaf scrolls, embroidered (chain stitch) in silks of various colors. 
Framed in a harmonious border, and edged with fringe. 

Length, 9 feet 3 inches ; width, 6 feet. 

2266 Pair French Brocade Door Curtains — Louis XIV. 

Floral bouquets and silver foliage, on cream ground, bordered with cloth-of -silver brocade. 

Lined and gallooned. 1. 
*" Each strip : Length, 7 feet 10 inches ; width, 3 feet 10 inches. 

2267 Large Italian Carpet — Early Sixteenth Century. 

Embroidered (cross stitch) in silk ; geometrical and bold floral designs, in blue, yellow, 
white, and brown, on a ground of shaded green. 

Length, 21 feet; width, 11 feet. 



Rare Oriental Rugs 



In the matter which occupies the ensuing pages effort is made to discuss the rugs 
of this quite extraordinary collection in their relationship to such others as they are akin to 
in origin, design, coloring, or epoch ; and references, I hope not too frequent, have been 
made to the several pieces by their catalogue numbers. It seems reasonable to believe that 
at least to persons interested in the study of rugs, the comparisons thus instituted will be 
suggestive, and not devoid of instruction. From the collector's standpoint the value of this 
plan lies in establishing a concrete significance, in making of the collection a unit Its 
comprehensiveness is thus emphasized. In the light of this treatment it will be seen that in 
making his collection the owner undertook to secure representative pieces from all the rug- 
making sections of the East. There are typical rugs of high class from the shores of the 
Bosphorus and from China, from the Caucasian fastnesses now dominated by Russia and from 
the Indian looms, from the steppes and from Persia. 

Personally, I am not a little surprised to find here such small representation of the 
fine Turkoman weavings which are held in high esteem by the modern East, and the best of 
which, now almost unobtainable, might have been had when this collection was being made 
But this lack must be considered merely as an expression of individual preference on the 
part of the owner, and whatever weakness the collection shows in this or any regard is far 
more than counterbalanced by the presence of so many and so venerable Persian masterpieces 
of a sort which cannot now be got, even in the remotest East, upon any terms whatsoever 

Certain of these have been taken as subjects of color-plates for the forthcomin" 
edition of " Oriental Rugs," and through the courtesy of the publishers of that work the 
Messrs. Scribner, the editors of this catalogue are enabled to present, in the folio copies 
important illustrations, which, besides serving a high purpose in ornamentation, cannot fail 
to be of signal value to collectors in the time to come. Thanks are due to Dr. Richard T 
H. Gottneii for translation of the inscriptions in Rug No. 1305. 

A word should be said concerning the knots, the number of which to the square inch 
is indicated in the comments upon each fabric. Where these are omitted, persons familiar 
with rug construction will recognize that the pieces are not of a piled texture. Such for 
example, are the Sehna Khilim (No. 1279) and a Soumak rug (No. 1293). The texture in 
both of these is more nearly akin to the tapestry method used on the French looms. The 
number of knots to the square inch in the piled rug is ascertained by counting those on the 
warp and weft respectively. The result obtained by multiplication of these necessarily gives 
the total number of knots to the square inch. There are two varieties of knots used in most 
Asiatic fabrics, though some slightly different methods are affected by India weavers. These 
two chief methods are known as Turkish and Persian. The difference, as seen in the finished 
fabric, is that in the Turkish knot two yarn ends of the pile come up between each two 



threads of the warp; in the Persian, only one. The Persian knot makes a finer fabric, and, 
when light yarns are used, allows of a greater number to the inch. With the Turkish 
method, which, however, is used in many parts of Persia, great solidity is often obtained by 
doubling the yarn. The Tabriz method, which the Tabrizlis have unquestionably borrowed 
from the Kurds, involves a peculiar arrangement of the warp, which enables them to secure 
all the Persian fineness, while the knot is actually of the other sort. 

This combination of the two systems produces fabrics which, while containing some- 
times as high as four hundred knots to the square inch, are oftentimes hard and rigid almost 
beyond belief. 

JOHN KIMBERLY MUM FORD. 

New York, October 20, 190a. 



1268 — Samarkand Mat. 

Length, 3 feet 8 inches ; width, 2 feet. 

30 hand-tied knots to the square inch. 

Many of the Samarkand and Kashgar rugs are purely Chinese in design, and the raw Chinese 
colors are used in them. All the ornamentation of this rug has been washed and faded out, 
except the one small figure in the centre. Traces of other lines may be discerned, and on the 
back of the rug some splashes of green and magenta show where the big Mongol patterns have 
been. As an aesthetic item, this fragment of Middle Asiatic weaving compels admiration. The 
yellow is superb, and the single relic of the design, standing out so boldly upon it, is a master- 
piece of simple effect 



1269— Small Rug of Laristan. 

Length, 4 feet 9 inches; width, 3 feet 8 inches. 

180 hand-tied knots (Turkish) to the square inch. 

An exquisite small rug. It is possible that a broad border stripe and an outer narrow stripe, 
companion to the one which remains, are missing ; but one end of the fabric, the best preserved, 
seems to indicate that it is not a fragment, but followed the old Persian idea of having one 
narrow border for small rugs, guarded only by a very fine figured stripe on either side. There 
is a magnificent deep blue ground, with the repeated pear pattern in the bold, tree-like form 
common to this section ; and, over all, a richness of effect and a refinement which challenge 
admiration. The narrow lines which enclose the border stripe are figured with a peculiar 
curved hook, laid slantwise to the axis. The one positive departure from regularity in de- 
sign is the inversion of three of these hooks alwut midway on one side of the rug. This is 
prompted by superstition. The retention of a blue tone in the pear patterns, with the addition 
of a touch of greenish blue, contributes much to the beauty of the whole. To the lover of 
the spontaneous native fabrics of the East, this piece will seem in some ways one of the most 
praiseworthy in the collection. 



1270 — O/tf Kuban Mat. 



Length, 3 feet 10 inches; width, 3 feet 3 inches. 

63 hand-tied knots (Turkish) to the square inch. 

A quaint and most attractive bit of Caucasian coloring, although age and hard service have 
almost ended its period of utility as a floor covering. In shape and design the rug follows 
the Shirvan variety, and the quality of its warp suggests the same derivation. The cotton selvage 
at the sides, however, indicates the weaving of Kuba, a district which lies the other side of the 
mountains, northward from the old Shirvan khanate, and in which the fine Kabestan nigs are 
made. The shading of some of the colors corroborates this conclusion, since the Kabestan 
weavers affect this trick of the wool to a greater extent than any others in the Caucasus. 

The feature is the striking contrast afforded by the narrow border stripes and the rest of 
the rug. These stripes present the characteristic reciprocal trefoil, or, better, " spade " pattern, 
common as a border figure in many of the Caucasian and Transcaucasian fabrics, and in some 
high-class Persian fabrics besides, notably the Sarabands. 

The superstitious nature of the weaver is shown in the substitution of a rich, strong blue in 
the border at one end of the rug, entirely at variance with the color of the rest of the design. It 
is believed that such sudden breaks in the color scheme are potent averters of ill fortune. 



1271 — Shirvan Sedjadeh. 

Length, 4 feet 8 inches ; width, 3 feet 6 inches. 

63 hand-tied knots (Turkish) to the square inch. 

The Shirvan standard is fairly represented in this small piece, which resembles in many 
respects the Kuban mat just described. The design throughout is characteristic of the Eastern 
Caucasus. The three octagons united to form a central medallion are familiar ; the border is 
in a pattern common to Shirvan. For the rest, the conventional figures are found. The color, 
too, is in accord with the requirements for rugs of this district. 



12TI—Tekke or "Bokhara" Rug. 

Length, 5 feet 4 inches ; width, 3 feet 8 inches. 

168 hand-tied knots (Persian) to the square inch. 

An excellent example of the thorough textile work of Turkestan. There is no wool superior 
to that of the northern plains, where these nigs are woven ; no craftsmanship more thorough 
and honest than that occasionally found among the hordes who only a comparatively little time 
ago, under Russian compulsion, ceased from their national diversion, or occupation, of man- 
stealing. This particular nig has seen some violent usage, though not badly worn down. The 
cuts, made possibly in some affray, have not yet been properly repaired ; but the merit of the 
piece, in spite of these defects, is patent. The rope, made from strands of the foundation 
yarns] indicates that it was used for a hanging, to divide the kibitka, or tent, into little apart- 
ments ; thus its superior quality is in a measure accounted for. 



1273 — Shirvan Sedjadeh. 



Length, 4 feet 10 inches; width, 3 feet 10 inches. 

80 hand-tied knots (Turkish) to the square inch. 

Two features appear in this nig— one in the coloring, the other in the texture — to indicate 
an influence foreign to the locality where it was woven. In dimension, general design, and 
material, both of pile and foundations, it is of the Shirvan order. The finishing, particularly 
of the sides, and the rather extraordinary shading of the colors all through the rug, are wholly 
suggestive of the Kabestans. It is not the custom in any other part of the Caucasus to take 
such liberties in the modulation of the colors as has been indulged in so successfully here. It 
will be noticed that one end of the rug is an entirely different color proposition from the other, 
a transmutation accomplished by toning down some of the color values and changing others 
gradually by admixture of converting tingents, until the whole complexion of the fabric is 
changed. Take first the red, which at one end is of a very positive and substantial cast. It is 
softened little by little until it becomes a rose pink ; the blue of the narrow border stripe, which 
starts out strongly, becomes lighter and lighter by almost imperceptible degrees, and then by 
the carefully regulated addition of yellow a green is secured almost precisely complementary to 
the rose tint. All the actual blue that remains when this has been accomplished is in the small 
nattems and interlineations. An interesting feature of the design is the use of the serrated 
diamond shape so much in vogue in the old Circassian and Mingrelian rugs, which, strangely 
enough, is found in great profusion in the Navajo blankets of our own land. With the excep- 
tion of 'the swastika, there is perhaps no perfect decorative device more widely distributed than 

this. 



1274 — Fine Shirvan Prayer Rug. 

Length, 5 feet 9 inches ; width, 3 feet 9 inches. 

130 hand-tied knots (Turkish) to the square inch. 

While not of great age, this small worship carpet is of decidedly antique quality, both in 
texture and coloration. It is one of the ingenious rugs, most frequent in Kurdistan and the 
Caucasus, in which a set pattern, many times repeated (in this case it is the tarantula device), 

• go modified by the arrangement of the colors that it seems at first glance a wholly different 
thine In many rugs of Kurdistan, whose weavers are adepts in all the tricks of color, one 
1 vice will be scattered throughout the entire field of the carpet, but so differing in coloration 
that no two can be found precisely alike. The Caucasian weaver has not done quite so much 
■ thjs rugf but the general effect is the same. The small, serrated diamond shape, referred to 

• remarks on No. 1273 as a Caucasian device, is found here doing duty as a star. In many 
Tcherkess prayer carpets, and sometimes in those of Kulah, in Western Asia Minor, this figure, 
in diminutive form, is strewn throughout all the space above the prayer arch, to represent the 
sDangled heavens. 

Another token of the devotional character of this rug is the small, long-spouted water ewer 
which every devout Mussulman uses for the washings attendant upon devotions. In four places 
here the figure of the ewer is found. 



1275 — Antique Persian Prayer Rug. 



Length, 5 feet 6 inches; width, 4 feet 3 inches. 

323 hand-tied knots (Persian) to the square inch. 

This is a nig which has seen vastly more hard usage than the flowery Shiraz (No. 1285), but 
in design it belongs to a somewhat later age and a less luxurious neighborhood. That it came 

from farther north is not to be doubted ; for the stars which fill the small outer border symbols 

of divinity — are chiefly used by Turanian peoples. More of cabalism than of the pure nature 
worship is indicated. The repeated horizontal shape, to be sure, is found in the " water " or 
narrowest stripe, of both this and the floral prayer nig ; but that is well-nigh their only point of 
likeness. The Herat border is suggested in broad, striking leaf patterns ; but, singularly enough, 
the leaves are arranged in such manner as to form the Chinese cloud band, itself a symbol of 
deity. Some of the common flowers are retained, but the vines which accompany them are 
heavy and rectangular. The arch is of a heavier and plainer type, and instead of the earlier 
tree-of-life shape found in the other places, the sides of the field here contain the straight pillars 
of a mosque, with carefully drawn but severe hexagonal bases and capitals, and a simple diamond 
design formed by zigzag lines running up and down the shafts. From the peak of the arch 
hangs the plainest of temple lamps, suspended by a realistic chain. The strongest Persian 
feature of the rug is the running vine, with flowers, in the spandrels of the arch, Persians 
taught the Ghiordes weavers to do the same thing with the space above the arches of their 
prayer rugs, and the horizontal panel at the top of the field is also found in most Ghiordes 
pieces. {See No. 12S6.) 

The solid centre of rich maroon makes a striking contrast with the cream border and its 
bold leaf patterns. Old and worn as the rug is, for it has seen much service, it is a splendid bit 
of color, and of a type so strong that it and others closely resembling it have been chosen for 
reproduction in the high-class modem silk pieces both of Anatolia and Persia. 



1276 — Fine Sehna Sedjadeh. 

Length, 5 feet 1 1 inches ; width, 4 feet 3 inches. 

484 hand-tied knots to the square inch. 

With the exception of the Sehnas there are no Persian rugs which — save now and then as 
an oddity — show the Herat pattern on a white or cream-tinted ground. It is impossible for 
piled nigs in wool to contain much finer texture than that which prevails in Sehna pieces of 
this character, and even this fineness could hardly be obtained on any save a silk or linen warn 
As fabrics they are unsurpassable; the only criticism to which they are ever open is that the 
dyes used in them are not always of the most enduring. The color effect of the Sehnas of this 
high class is usually as soft and delicate as the texture is hard and unyielding ; but the color 
softness is secured by distribution of the various hues in minute areas, for which the fine knot is 
indispensable. To lend still greater emphasis to this characteristic the pile is trimmed very 
short. It would be natural to infer from this that they were delicate and could sustain only a 
limited amount of wear. The multitude of compact knots and the vigorous twisting of the fine 
wool, which reduces it almost to the hardness of linen, seem to have obviated this, and it is a 
fact that the antique Sehna shows wear as little as many of the heavy nomad nigs with pile yarns 
several times as long. The typical Sehna coloring is preserved in the border of this* rue 
but the patterns which carry it are not those commonly used. The upright leaves on either 
side of the rosettes are unusual. The number of stripes is noticeably large. The colored 
stitching in the web at the ends is the work of Kurdistan, found also in the khilim (No. 1270) ■ 
and the nomadic separate patterns, strewn through ground and border, are evidence of origin 



1277 — Shirvan Prayer Rug. 



Length. 5 feet 1 inch; width, 4 feet 2 inches. 

132 hand-tied knots (Turkish) to the square inch. 

Another of the clean-cut, bright, and attractive prayer carpets woven in the eastern part of the 
Caucasus and along the southwestern shore of the Caspian Sea. This lattice formation is quite 
characteristic also of the Daghestan province ; in fact most of the prayer rugs of the Caucasian 
districts are in this general fashion, the difference lying mainly in shape, borders, and textile char- 
acteristics. In general this rug closely resembles No. 1274, save that the latter is a trifle longer 
in Droportion to its width, as the Daghestans commonly are, and shows a slightly different texture. 



1218— -Kulah Prayer Rug. 

Length, 5 feet 11 inches; width, 4 feet. 

90 hand-tied knots (Turkish) to the square inch. 

The pure, undisputed Kulah is ordinarily of coarser texture than the Ghiordes, and is usually 
d' tineuishable by the preponderance of this peculiar shade of yellow. It is not, it will be ob- 
ed the golden yellow of Kurdistan, but a more tawny hue, a clear development from the 
f*™ ' saffron yellows of Eastern Anatolia and the Mesopotamian country. In these rugs 
She e is seldom any liberal display of red, or green, or pure white. The color almost invariably 
i ov ed to relieve the yellow is blue, and this is found in two values, light and dark. The 
fTter is in most cases used as a ground color for the centre, but even there it is a different 
H n blue from that found in the centre of many Ghiordes rugs. A note of Persian realism is 
, e j j n this rug, in the use of pale green for certain of the flower stems; but the design, from 
J. ou t ^st, is in the prescribed Turkish forms. The profile flower is found here and the 
"ht-pointe'd star. The narrow Kulah stripes are limited in number, the broad stripe being 
C 'f tltuted, with a tree element in the peculiarly heavy form common to the primitive decora- 
tion of Turkish peoples, in Turkestan and in other parts of middle Asia. But the " life " idea 
is Still prominent. 



1279 — Sekna Khilim. 

Length, 6 feet 4 inches; width, 4 feet 6 inches. 

Tn this piece, nomad Kurd women of Ardelan Province have made strenuous effort to copy 
fine-patterned j. m ij ms — or two-sided coverings — made by the town weavers of Sehna. The 
k of the mountain Kurds is the colored stitching of wool run through the webbing at the 
j n design and color the type has been followed with considerable fidelity. The khilim of 
CT v> h this is a copy was without doubt one of high class, even for Sehna, to judge from its 
Heated design. There is a double medallion, the outer one marked off with serrations, 
C01 h^as are found in the Herez fabrics of Azerbijan as well as some from Shiraz and from 
SU t of the Caucasus. This outer medallion is filled with the small repeated plant design 
^ on in so many piled nigs of Northern Kurdistan, so arranged as to form a diagonal lattice- 
cornm ^ e come r spaces and the ground of the inner medallion hold a modified Herat, or 
« °fi h " pattern, which is one of the most common things in the Sehna khilims, and is ordinarily 



used as a diaper design covering the whole body of the fabric. This " fish " pattern, and the 
" pear " or "cone " figure are about the only forms ordinarily used in the Sehna rugs of recent 
times. The tree or plant pattern is quite unusual in these fabrics, and constitutes an undeni- 
able proof of authorship. The coloring— the rose color, yellows, and greens— is all very true to 
type ; and the puckered effect of the texture caused by persistent twisting of the yarn is I 
think, found in no other fabric besides the Sehnas. In these it marks both the khilims and the 
backs of the piled or tufted rugs. 



1280 — Kitlah Hearth-piece. 

Length, 6 feet £ inches; width, 4 feet 5 inches. 

88 hand-tied knots (Turkish) to the square inch. 

Here is the characteristic yellow and blue of Kulah, also the stripe effect. But in the 
centre heavy figures are used, balanced by the more substantial broad stripes in the borders 
and the rude Turkish shapes in the end panels of the centre. The idealism which everywhere 
throughout the East finds its most studied expression in the prayer rugs is here abandoned 
and, with seeming disregard for the Sunnite prejudice against depiction of the actual, the wide 
border stripe has been made up of a crude landscape comprising trees and an altar. Even 
when they are taken singly, some imagination is required to discern the verisimilitude of these 
groups, and the weaver's timidity has made it still more difficult. The pattern is repeated but 
inverted each time, so that what was originally .1 picture becomes a ninning, conventional thine 
without particular likeness to any recognized element in design. 

Elsewhere, something is said of the custom among Eastern tribes of weaving the self-same 
designs in their rugs generation after generation. It is well verified and illustrated in this 




onginah'ty. 



1281 — Fine Antique Rug of IVestern Persia. 

Length, 8 feet 1 inch ; width, 6 tect 5 inches. 

168 hand-tied knots (Persian) to the square inch 

Although genuinely old, and embodying some of the highest features of Persian textile 
design, this rug will scarcely take rank with some others in the collection. Although old it is 
a copy ; a copy, moreover, not of one rug, but of two ; both of them, however, extremely old 
It was made probably not less than two hundred years ago, and was intended for an important 
fabric. The best carpets obtainable were used as patterns. The field is perfect in arran ce- 
ment, and the mathematical nicety with which the difficult distribution of the animals is 
accomplished gives evidence of mastery in design such as was possessed by none save roval 
weavers. The animals are placed in horizontal groupings, and each of these groupings is 
repeated in every fourth row. The axis of the rug is indicated by a lotus flower at the bottom 
of the field and a pair of gazelles at the top. The deep crimson in the field is further proof 
that the central design was copied in its entirety ; but that is as far as the integrity extends. 
The border, with its green ground, is the sixteenth century Ispahan border, similar to those of 
Nos. 1310 and 1314 » b ut ' ts alternation of big figures is broken, and one of the two main ele- 
ments appears twice in succession. To avoid the cartouche inscriptions which ordinarily fill the 
borders of the animal carpets, the weaver adopted the conventional Shah Abbas border, but he 



copied it from a carpet larger than that from which the central design has been taken, and 
neglected to reduce it to the smaller scale. Nothing was left him, when he saw that he was 
coming out with border goods to spare, but to cut out a section on each side and preserve the 
comers. This he did. Instead of the vine and flower which find place in such carpets as Nos. 
1282, 1284, and 1305, here is the solid ground of coppery yellow always so common in the 
Kurdish and so-called Mosul rugs, and upon this a simple rectilinear device, remotely resembling 
a flower, repeated throughout the entire length of the stripes. These borders would'be far more 
at home in a Mosul, Kurdish, or "Tzitzi " rug than in a copy of the most ornate fabrics known 
in centuries. 



1282 — Very Fine Old Carpet of Middle Persia. 

Length, 9 feet 9 inches; width, 8 feet 5 inches. 

400 hand-tied knots (Persian) to the square inch. 

It is easy to discern the relationship between this carpet and No. 1284, and equally easy to 
know which is the parent fabric, even' if the softened colors of the larger piece did not answer 
the question. Contrasted with this older weaving, No. 1284, beautiful as it is, seems hard and 
meagre. The spontaneity and profusion of the old time are apparent in No. 1282, albeit the 
design is a set one and repeated in rows, as in No. 1284, and, a century or two later, in No. 1283. 

It is best to go at once to the borders for comparison, and it is seen that the border of 
No. 1 284* witn ' ts affectation of the Ispahan green and its mechanically accurate pattern, with 
the' seed-pods of the lotus as chief feature, is a new invention. The main border of No. 1282, 
with its dainty vine and recurrent flowers, is reduced in size and made to serve for the narrow 
guard stripe in No. 1284. 

In the field of No. 1284, as has been said, there is but one pattern, but in the parallel rows 
these patterns do not fall abreast. Here in No. 1282 the patterns in the alternating rows differ 
materially. The motive is the same in both ; but one is wider in sweep, larger in detail, and 
more complicated. 

lust here attention must be called also to No. 1285. In floral character it bears a marked 
likeness to No. 1282 ; but the particular element to be noticed is the solid, curved band of large 
flowers growing out from the single stem. In No. 1 282 it emanates from the curved diamond 
shape, and may be taken as the measure of comparative size for the major and minor row 
1 tterns, s i nce j n the first it contains five blossoms and in the second only three. 

In addition to the leaves, laid back to back, as seen in No. 1284, another leaf element ap- 

here four curved leaves radiating from a rosette which is set in the centre of the diamond. 

The big fl° raI masses of the ma j or row g™ w out * rom wis centre, being bound at the bottom, 

j t w ere, by the heavy flower band mentioned above, which regulates the curve of the stalks 
and the spread of the flowers, much as it does in the prayer rug, No. 1285. The lily forms have 
here a more ornate treatment, being adorned with a yellow centre. The henna flower is not a 
stilted, set pattern as it is in No. 1 284, and in all succeeding rugs, down to the modem Feraghan. 
On the contrary, it has usually only three blossoms to a stalk ; but where five are allowed, a quiet, 
unobtrusive color is used, plainly in order to keep the device in its proper subordinate relation 
to the rest of the design. 

It will be seen that the border on one side of the rug has been removed and carefully sewed 
on acain, and examination will reveal that one entire row of the field design has been cut out. 
. ■ Q f course, useless to speculate on the cause for this ; but the rug without doubt suffered some 

'ident and the repairer, recognizing the utter impossibility of restoring it, took what seemed 
* cc . j nl tne n e.\t best course and removed the damaged part altogether. The joining is so well 
done that at first sight it would hardly be noticed. The important point in connection with it is 
that in its original shape the rug was perhaps braider than it was long. This implies a special 
md it is not at all unlikely that the piece was woven for the covering of a dais or a throne. 



1 2s:i — Old Feraghan Rug. 



Length, 6 feet 3 inches ; width, 4 feet 3 inches. 

182 hand-tied knots (Persian) to the square inch. 

A most unusual specimen of the Feraghan weaving. The border and general appearance 
are characteristic, but the light, bluish-green ground in two shades is a rarity. What especially 
interests us is that here in rectilinear treatment is the Guli Hinnai figure of flowers on a stalk, 
referred to in No. 1284, only that here the stalk has seven blooms instead of five, and is in 
upright arrangement, as it appears in the Guli Hinnai design of to-day. This nig, if studied 
carefully, will give ample proof of the relation to — or rather descent from— the fine silk piece 
next following, and also the one which follows that piece. The curving vines, which, in the 
other, had in a way survived from a more opulent period, are lost here ; but, looking carefully 
along one end of the field, one may find the same lily-shaped, light-colored flowers referred to 
as terminating each pattern in Nos. 1282 and 1284. The plum-colored flowers are here, too. 
This color is almost a Feraghan property, so universally does it appear in the old weavings of 
that district, in some cases as a corner ground color. Practically every feature of No. 1284 can 
be found here, though in a debased form. The clear definition is lost. The flowers have gro- 
tesque conventional shapes, but vaguely resembling the natural drawing and shading at which 
the earlier weavers aimed. The vines are no longer gracefully curved, but angular and cum- 

And yet this is a rare good nig when considered from a modem standpoint. It is onlv 
when such capital fabrics are placed side by side with those of three hundred years ago that we 
can read discouragingly clear the decline of the Oriental weaver's art. 



1284— Old Rug of Middle Persia. Silk. 

Length, 6 feet 11 inches; width, 4 feet 10 inches. 

780 hand-tied knots (Persian) to the square inch. 

This rug and No. 1282 are unquestionably of the same school, and No. 1282 is the older and 
more elaborate of the two. This piece (No. 1282) contains the Ispahan combination of green 
border-ground with wine- red or crimson field, but the design is wholly foreign to Ispahan and 
to the whole class of rugs which emanated from the capital during the latter part of the sixteenth 
century. Although the design of No. 1284 grew out of that found in No. 12S2, the story of the 
artistic contraction which, after Shah Abbas, went on with great rapidity, is quite clearly written 

Much of the floral richness of No. 1282 is abandoned by this later weaver, apparently for 
the economy of effort; but the beginning of the row arrangement so prevalent to this day in the 
carpets of Feraghan and others patterned after them is undoubtedly found in these carpets. 
The design of No. 1284 shows a large amount of open space. The weaver was not barbarian 
enough to insert loose patterns to fill up the ground, and having abandoned the perfect coordi- 
nation common to the fifteenth and early sixteenth century carpets, no other recourse was 
left him but to leave wide areas of the ground color. There are two patterns, rather complex, 
repeated in alternate rows, and so arranged in the rows that they are never side by side. A 
little analysis nukes it clear that this is the original Herat design, lancet leaves and all. The 
pattern itself starts in a central point, extends upward and downward by the combination of 
corresponding floral elements, and terminates in two small white or ivory-tinted lily shapes 
which meet and are balanced against two similar shapes from the pattern following. Here are 
the ends and here is the meeting-place of the successive patterns. The middle point of each 



pattern is where the four curved leaves lie back to back, and the trifloriate flower stem, with the 
middle bud in yellow and the supporting ones in blue, outlined in white and dashed with red, 
points toward the common centre. Opposite these centres, in the alternating rows, fall the 
lily shapes before referred to, and on either side of the centres, facing one another and again 
arranged in fours, are the stalks of the Guli Hinnai (flower of the henna) each bearing 
five blossoms. 

The flowers in this rug are similar to those found in recognized weavings of Shiraz, but 
the manner in which they are utilized is of the North. Certain textile indications, such as the 
many-colored silk warp and the small crimson overcasting at the sides, are characteristic of the 
finest Sehna rugs of to-day. The shape, also, is that of the Sehnas ; but it is quite impossible 
to make hard and fast classification of a rug woven when Persia was in a state of such continual 
change, and artisans in large numbers were constantly being transferred from place to place, 
taking with them their methods and designs. 

The fabric has been exceedingly well kept. Its only blemishes are one small rent in the 
centre, carefully mended, and the absence of some of the colored warp fringe at one end. 
This latter defacement is the handmark of the vandal, the silk having been slashed away 
stealthily while the rug was upon exhibition. 



1285 — Old Persian Prayer Rug. Silk. 

Length, 5 feet 5 inches; width, 3 feet 8 inches. 

468 hand-tied knots (Persian) to the square inch. 

The fact stated elsewhere, that Eastern carpet designs are copied by generation after gener- 
ation, is perfectly illustrated by a coincidence in which this rug figures. The prayer rug used 
in the earlier editions of "Oriental Rugs" (page 168) to show the character of the antique 
Shiraz weavings is almost a replica of this one, though made probably two centuries later. It 
is probable that several other rugs intervened between them, and that the copy was made 
from a copy, or a copy of a copy, or even from a rug many times removed from the original. 
Whether or not this carpet is the parent of them all it is impossible to know ; but that it is ex- 
ceedingly old is beyond doubt. It is hard to determine, too, if this be the actual product of 
Shiraz, since the finishings, so plainly proving Shiraz origin for the later piece, are missing from 
this one by very reason of its age. 

The god whom the weaver of this rug worshipped must have been a generous deity, for the 
fabric in every inch of its design tells a story of plenty and gladness. The idea of actual 
growth and continued blessing is especially emphasized by the jardiniere, which is the central 
feature of the design, and from which spring in great prodigality practically all the flowers that 
Persia knows. There is certainly no floral form to be found in any Iranian carpet design, old 
or new, that does not smile at us from this rug. 

In this type of prayer rug, a peculiar form of prayer arch, or niche, is developed, the con- 
cave curve of its sides being formed by a primitive form of the tree of life, half of which, in a 
dull rose color, projects from each side of the field. In the arch itself, overhead, there is the 
strictly Arabic form which is still to be found on certain old buildings in Teheran and else- 

wnere a curve softened by lesser curves, the points between which form a sort of serration. 

This is doubtless the source of the rectangular serrations in the arch of the Asia Minor prayer rugs. 
(See Nos. 1286 and 1287.) In this rug (No. 1285) also will be found profile flowers fringing 
the inside of the arch — the identical flowers which are used for the same purpose in the prayer 
rugs of Ghiordes, Kulah, Ladik, and Meles, and, in fact, of all Asia Minor. Reference is 
made to these in the comment upon other rugs. It should now be said, as showing its origin, 
that in the sixteenth century Sultan Suleiman, gaining substantial victories over the Persians, 



took four thousand artisans from Shiraz, Ispahan, Tabriz, and other cities of Persia, to Co 
stantinople, and set them at work. It is thus that so many features are found in set and conven 
tional form in the fine old Asia Minor prayer rugs, which appear with the free, artistic Persi 
treatment in the ancient fabric before us. The heavy, repetitive device seen in the broad 
border of Asia Minor prayer nigs— a flower stem with three blossoms and one or two leaves 
filling a square space — was taken from rugs similar to this one. 

In both field and border of No. 1 285 appears the henna flower. In the border, where the 
Herat idea in mild form is followed, the familiar flower stalk serves as support for the main 
elements. But in this rug, as in No. 1278, care is taken to prevent any one flower from attaining 
such size or such strength of color as to make it more conspicuous than the others. To each is 
given its natural prominence, and no more. That is what imparts to fabrics of this character 
and of this epoch the appearance of a sward thickly carpeted with flowers. When the Ispahan 
weavers over-developed the lotus, and those of Feraghan the henna, all other elements were 
dwarfed to make way for these; and realism, as it appears in Nos. 1282, r285, and fo* at 
last surrendered unconditionally to convention. ' 5 ' 

Age has left its mark upon this most admirable and interesting prayer carpet, but its design 
fortunately, is still intact, and it will endure yet for many lifetimes as an example of one of die 
most virile, yet most refined, products of Iranian art. 



128G— 4 sia Miliar Prayer Rug. 

Length, 5 feet 10 inches; width, 4 feet 5 inches. 

162 hand-tied knots (Turkish) to the square inch. 

The old-time rugs of Western and Southwestern Asia Minor vary materially in details of 
color and figuration, and yet conform, for the most part, so closely to a general type that it is 
difficult to assign the exact place of manufacture of many of them. It is quite the fashion to 
attribute to Ghiordes all which show as fine execution as is here displayed, without particular 
regard to color or design. The turquoise-blue centre — a desirable thing, and one now become 
rare — is sufficient to warrant the attribution of the rug to Ghiordes; but there have been 
adopted into it features characteristic of other localities not remote. Chief of these is the use 
of the many narrow, figured stripes in the border, which are everywhere recognized as the 
mark of the weavings of Kulah. The Ghiordes character is further maintained by the accenru. 
note of deeper blue at top and bottom of the central field ; but, on the other hand the rsrrm 
lence of yellow throughout, even to the outermost stripe, is suggestive of Kulah. The abbre i 
tion of the angles at sides and apex of the prayer arch is a Ghiordes indication, but the serTation 
of the sides of the arch belongs to Kulah. The composite quality of the design will be anna 
from these data alone, but there is no mistaking the scrupulous Ghiordes workmanship, no/the 
delicate adjustment of color which is almost a sign manual of the old Ghiordes weavers The 
deft manner in which the blue of the centre is carried out through the borders, always held 'n 
subjection in order that the centre shall not be overbalanced, is unmistakable. Even the b e 
Turanian elements of design, which are borrowed from the heavier fabrics woven farther to the 
east in Anatolia — Kir Shehr and Konieh, for example — are converted by means of this soft 
coloration, and the brightness which is the chief desideratum in Ghiordes rugs is finally secured 
by the use of cotton for areas of white. Wool in the same place would have turned yellow 
with age, and the rug, after one hundred and fifty years, would have been dingy. The onlv 
really strong coloration in the carpet is in the narrow stripes, and even these are tempered 
in tone. The reds which in the Bergamo or Iadik nigs would have been used in their puritv 
have here a brownish cast, borrowed from rugs of the interior, but evidently seized upon because 
they contributed to the soft tone which the weaver aimed at. 

The religious symbolism is complete. In the field, both at the base and in the simula- 



crurn of the temple lamps above, the eight-pointed star, which has been a divine emblem 
throughout Asia for thousands of years, and is not merely a part of the cabalism of Islam, is 
interwrought with the tree forms, recognized in the Mohammedan and many antecedent religions 
as symbolizing immortality. 



1287 — Asia Minor Prayer Rug. 

Length, 6 feet 8 inches; width, 4 feet 9 inches. 

99 h;ind-tied knots (Turkish) to the square inch. 

Here again, as in No. 1286, the Ghiordes weaver has made use of many elements in con- 
structing a carpet for worship, but the signs manual are still present in numbers sufficient to 
establish beyond doubt the place where the rug was woven. Perhaps the most unusual feature 
of the piece is the white central ground, of wool, which necessitates a higher key and a stronger 
definition in the other color areas than would otherwise have been required. To this end the 
narrow border stripes have been used, wider than the ordinary and stronger in color. Un- 
wonted liberality, too, has been displayed in the choice of diverse strong ground-colors for the 
border stripes and the patterns which they carry — a liberality which, on the whole, is quite 
suggestive of Persian influences, especially since the floral idea enters so largely into the border 

design gi^ce jt is hard to resist the conviction that the rug is the product of Konieh or of 
the Southern coasts, where Persian notions have always been more or less evident in the decora- 
tion ■ but the arch, it will be seen, has the same Kulah serration, and the same Ghiordes trunca- 
tion of its angles that are apparent in No. 1 2S6. These, coupled with the skilful use of cotton for 
the high lights, particularly in the small border stripes, lead to the conclusion that the rug is 
of Ghiordes handiwork. 

That much being conceded, however, the manner in which the characteristics of the different 
districts have been brought together in this fabric, the whole object being to maintain high key 
and clear definition, is most interesting. It must be borne in mind that this strength of defini- 
tion was even greater when the rug was new, since the black dye, so much used in the Ghiordes 
mgs and others woven nearby, has long ago eaten away the wool dyed with it, and left only the 
white foundation showing. This is especially noticeable in the quadrangular flower devices of 
which the broad borders are composed. 

There is peculiar aptness in the choice of green for the ground of the outer border, since 
> is the holy color of the Mohammedans. Hut a sense more purely artistic — perhaps more 

Persian is manifest in the selection of yellow as a ground for the other border ; and a kindred 

' iration jg ev ident in the use of two shades of red for the flowers that are laid upon the 
* een border ground. There is the cherry crimson of Meles and the carmine of Ladik and 
Bergamo- The rug is of perfect shape and in splendid preservation. 



1288 — Very Old Persian Silk Fragment. 

600 hand-tied knots (Persian) to the square inch. 

An exquisite relic of one of the finest and oldest of Persian textiles. Bits of this sort are 
diligently treasured in the Orient itself, and coloring like this is the despair of the latter- 
J]° j yer even in the East. The size and importance of the carpet in the beginning may be 
/rred from the magnitude of the medallion shape, the repetition of which evidently made an 
'h over pattern, and to the art lover it is cause for deep regret that only such small parts of so 
n/rfect a fabric have been preserved. 

While the texture of the rug is Persian and of the highest order, there is in it little of the 



recognized design of Western or Southern Persia, at least since the fifteenth century. In the 
medallion shape, which served here as a node or point of intersection for the broad ornamental 
bands of the central design, there is seen at once the origin of the form found enclosing the 
rosettes in the Herat border. It is impossible to escape the conviction that the carpet was 
woven to the eastward of the Great Salt Desert, somewhere in Northern Khorassan, or in Herat, 
when the last of the line of Tamerlane held court there, and all the splendor of the Persian and 
Turkoman dominions centred around the key of India. 

In the great medallion space there are two fishes, and, alternating with these, two spotted 
shapes, not too clearly defined, but plainly representing some aquatic creature. All are 
fairly limned. On the rose-pink ground, at recurrent ]>oints in the pattern, a bird, blue of neck 
and white of body, poises, half concealed by a leaf form. The vines, which are used by way oi 
smaller adornment, are simple, but graceful, with the flowers— seemingly a different type of 
floration from any other seen in the collection — dependent. On the pink ground these vines 
are of a pale golden yellow, while on the white bands they appear with outlines of the most 
delicate green. The only familiar figure here is the flower — yellow, blue, and pink — which later 
was adopted as a feature of the well-known Mina Khani design. 

An interesting feature of this extraordinary fragment is the strip — itself pieced — which has 
been attached to serve as border. It is evident that this affords only a hint of the original 
border, and has been sewn on, in the true spirit of the collector, in order to preserve a record, 
however imperfect, of the rug's first splendor. This border strip appears of a pale yellow ; but a 
patch of the same, in an upper comer, inverted, perhaps accidentally, reveals the olive cast. 
Silk rugs to-day present a similar change of color when seen from different points, and this 
fragment displays a much deeper tone throughout when inverted. The figure which appears in 
the border strip is an unusual one, practically unknown in the carpets of Western Persia — an 
ivy leaf, beautifully drawn in white, with outline of alternate pink and blue, and with each leaf 
pointing in an opposite direction from that of its neighbor. 

As was remarked at the beginning, this rug— or these pieces of a nig— are of a wholly 
different school from anything else here shown and are of sufficient age and rarity to abundantly 
warrant their being kept, as they were, under glass, and used for a wall ornament. 



1289 — Antique Feraghan Sedjadeh. 

Length, 6 feet 10 inches ; width, 3 feet 10 inches. 

132 hand-tied knots (Persian) to the square inch. 

By the conservative Persian, the Feraghan rugs of this class and quality are accounted 
among the most desirable of carpetings. In quality of material, thoroughness of workmanship, 
and genuineness of color, it is doubtful if any of the late weavings surpass them. There is no 
rug woven in the Orient which shows a more marked improvement with age than these. In 
one respect this piece is quite phenomenal. The prevailing design in the old type of 
Feraghans is the Herati, or " fish " pattern, in close form, much as it appears in the comer 
spaces and inner medallion of the Sehna khilim, No. 1279. But the weaver here has taken for the 
central design the regulation Herat border and merely repeated it, row on row, transversely, 
upon a red ground, making of it an all-over pattern, as effective in its way as the Herat 
centre itself. In such cases it is customary to select some foreign design for the border and 
the result is usually inharmonious ; for in all the range of Eastern carpet design there is nothing 
more complete, more perfectly correlated than the Herat that is thorough in field and border. 
Rather than fetch in some discordant conceit, the weaver has maintained the Feraghan 
reputation for consistency by using the pure Herat border device in the border as well as field. 
Altogether the effect is good. What is Lacking is the agreeable note of contrast, of complement, 
or, better, completeness, in which the combination of Herat field, or " fish " pattern, with its 
customary Iwrder, excels almost any recognized design of the East. Some features extraneous to 
Feraghan — the pear device most used in Sarawan (Saraband) and the small trifoliate reciprocal 



device of Hamadan — are introduced in the narrow borders, apparently to break the monotony 
which might be expected to result from such an exaggerated use of the Herat border sequence. 

An attractive color contrast, with a suggestion of stained glass, is effected by the use of 
blues and greens in the broad and narrow borders. 

1290 — Lesghian Rug of the Caucasus. 

Length, 7 feet 2 inches; width, 3 feet. 

63 hand-tied knots (Turkish) to the square inch. 

A rug made for hard usage out of doors. The knots to the inch, it will be observed, are few 
in number ; but the yams, heavy ones, are doubled, and the weft, which runs back and forth 
between the knot rows to serve as a binder, is unusually stout. The design is, in the main, 
copied from the Shirvans; but the color, a study in yellow and blue, is almost universal in 
nigs of this variety. There is much suggestion of the Shirvan khilim in the patterns. The 
"wine-glass" border, so called, is much used throughout the provinces of Erivan and 
Karabagh jn the Transcaucasus, and migration has carried it far beyond the Araxes into 
Northern Persia, where it is specially to be noticed in the rugs and large native carpets of the 
Herez district of Azerbijan. 

1291 — Heavy Kashkai Shira^. 

Length, 6 feet 10 inches; width, 5 feet 8 inches. 

63 hand-tied knots (Turkish) to the square inch. 

A former Shah of Persia, during the centuries when the Persian dominion extended north- 
ward well-nigh to the mouth of the Volga, transferred, as was the custom of rulers of his time, 
an entire tribe, called the Kashkai, from the Daghestan country, north of the Caucasus, to Far- 
sistan, a little west of the old Persian capital, Shiraz. Even in the hundreds of years that have 
passed, the amalgamation of these people with their Iranian neighbors has been incomplete, and 
a multitude of rugs still come to market under the title of Shiraz which have little or nothing in 
common with the Persian product of Farsistan, and preserve almost unaltered the designs, colors, 
and textile methods of the North. It is to that class that this example belongs. In shape it 
is nearest akin to the Kazaks and Shirvans of the Caucasian country. In design and color it 
approaches very nearly to the Tchetchen nigs commonly known as "Tzitzi," even to the 
rlentitude of yellow and brown. Certain features of ornamentation — for example, the colored 
web at the ends — and the fine line patterns often woven or embroidered in it, have become 
frequent, if not characteristic, in all the rugs of Farsistan, Iranian and Tartar alike. It is quite 
to be believed, however, that they took their origin from the Far North, and that their proto- 
types are found in the decorative webbing so frequently seen in the Beluchistans, Tekkes, 
Aftrhans and some Caucasian products, such as the Derbends, as well as in the Yuruk rugs of 
Anatolia, which are woven by kindred tribes. 

In this piece the prevailing feature of the nomad " Tzitzi " nigs — the reckless scattering of 

holly disconnected figures — is plain, and practically all of them are Turanian in character. 
Th Caucasian arrangement of three large, connected, rectangular medallions as a main 
f ture of the field is retained, a conceit which has found its way into numberless Shiraz nigs, 
the decorative character and the weaving of which are thoroughly Persian. In the course of 

oair the original finishing of the sides of the rug seems to have disappeared. The ends 
eal the source of it. The pile has the softness for which the wool of Farsistan is famed, 
re \ j n tne length and " lie " of it resembles that of the heavier fabrics of Caucasia. In shape 
a ^ i s far more like the old Kazaks than any recognized product of South Persia. 



1292 — Rug of Northwestern Persia. 



Length, 8 feet 10 inches; width, 5 feet 2 inches. 

132 hand-tied knots (Turkish) to the square inch. 

This rug has all the clear color, even trimming of pile, and thorough workmanship of the 
fine Kabestan or old-time Karabagh, but the design shows few Caucasian features. The onlv 
prominent figure that belongs to the ancient Turanian symbolism is the heavy, swastika-like 
shape repeated in the border— one that is frequent in the fabrics of Middle and Western 
Anatolia. 

This single border, apparently so inadequate to balance the bold, heavy figures of the field 
is not characteristic of the Caucasus, and, as there is small likelihood that the rug ever had anv 
other or heavier border stripes, the only conclusion warranted is that this single border like 
some other features of the fabric, was drawn from old Persian sources — witness some of the fine 
old North Persian pieces — though the figure with which it is filled be in essence Turanian 

The heavy red outline of huge, elongated leaf forms which dominate the field of the rue is 
directly traceable to a design, standard in Middle and Northwestern Persia for centuries known 
as the Sirdar, after a dignitary whose weavers are supposed to have first produced it. The 
leaf elements are so involved as to form, down the middle of the field, a succession of medal- 
lions, and these, as well as the spaces set off at the sides by the outreaching of the leaves are 
filled with flower, leaf, and other untraceable forms, in the characteristic drawing of Herez. 
suggestive only in the broadest way of things in nature. The stiffness, the breadth, the strong 
color contrasts — they may be found to-day in Gorevan, Serapi, and other carpets of the Herez 
district. The reds and the lighter blues and greens are almost the identical colors found in 
the fine modern Gorevan ; but in the yellows and browns, for some small areas, as well as in 
the dark blue of the ground, there is strong suggestion of the Caucasus. The minute devices 
scattered throughout the rug— like the grotesque conversion of the straight, splashy figures in 
one medallion into a pair of legs and of the other into a face — are of the Karabagh and 
" Tzitzi " order. They indicate the nomad, and the Caucasian nomad ; but the perfect balance 
before referred to, of one side against the other, bespeaks care and painstaking and *«» 
ture tells the skilful weaver. 6 ' ™ e lex * 



1293 — Soumak Rug Of the Caucasus. 

Length, t) feet; width, 5 feet 10 inches. 

The effect of repeated washing and exposure to sun is evident in this so-called Kashm' 
That these processes have made the rug pleasant to look at cannot be denied. The blue "d 
yellow are soft, and the other colors toned down to a very gentle harmony. This change of 
colors under commonplace treatment and hard wear is interesting, in so far as it shows what ' 
these latter days is done to many new nigs, for trade purposes, by the aid of artificial heat d 
divers acids. The rug's value as a color study, however, is only secondary. It is chief! 
interest as a compendium of standard elements of design, and without doubt was selected^f° 
that reason. The numberless ethnological currents that have traversed the Caucasian count ' 
have left each its record in this sort, and this faded fabric of the old Soumak district seems to 
embody almost a majority of these. It is every whit as good as a certified genealogy. Even a 
cursory glance will discover the Tartar latch-hook in profusion ; the eight-pointed star which 
was the old worship symbol of the Medes, and at the same time is found in the rugs of even 
Turkish tribe from Samarkand to the Bosphorus ; the octagon, so prominent in nearly all the 
Tekke or Bokhara fabrics and those of Northern Afghanistan ; the mysterious swastika, which 
prevails in the relics of every ancient civilization the world over ; the Chinese fret designs the 



parti-colored stripes of the Yomud and Akhal Turkomans ; and, by way of final adornment, the 
small, rude human and animal figures of the upper provinces of Caucasia and the mountain 
districts of Kurdistan. Here, too, are the sudden changes of color so prevalent among the 
Kurds and the Kabestan weavers. All this is colored and arranged wholly after the Soumak 
manner, and, while not of a fine texture, the rug represents in appearance and workmanship the 
regular output of this one small district in the eastern part of the Caucasus. 

1294 — Karabagh Strip. 

Length, 9 feet; width, 3 feet 10 inches. 

88 hand-tied knots (Turkish) to the square inch. 

So far as its rugs are concerned, the ancient province of Karabagh, dominated now by Geor- 
gians, now by Turks, again by Persians, and in the end by Russians, has always been a home of 
composites and compromises ; but has, on the whole, maintained fairly well a treatment of its 
own. Patent concessions may be found, in many of its rags, to the Persian tendencies in design, 
but "much has been borrowed from Shirvan, which adjoins Karabagh on the east, while in color, 
clearness, and general character of work, the weavers have followed the example of those farther 
north. The rug here shown is sound and durable. The stripe design is probably of Persian or 
Arabian origin, and is sometimes seen in the old Kabestans, where Persian influence is at times 
very perceptible. The longitudinal stripes of which the field is made up are of alternating 
ound co ] ors . Usually the object seems to be to have no two of the same hue. Each stripe, 
furthermore, is ornamented with repetition of tree or plant design, somewhat after the Kurdish 
manner, but preserving still the rectilinear treatment of the Caucasus. A mark almost 
omnipresent in Karabagh rugs is the narrow stripe made up of "reciprocals" ; in this case red 
and blue in one stripe and black and blue in the other. (See No. 1270.) In the broad border stripe, 
on a ground of wool white, is the "wine-glass" pattern, itself most frequently found, as has 
been said, in the rugs of Transcaucasia and Upper Persia. The narrow, parti-colored stripe of 
the Tartars also appears. The foundations and finishings of the rug, even to the mixed wool 
of the warp, are most like those of Shirvan, which would indicate that it came from the eastern 
part of the Karabagh province. The selvage of the sides, however, would suggest the influence 
of Daghestan in its color. 



1295 — Perso-Mongol Rug. 

Length, 9 feet 2 inches; width, 5 feet ft inches. 

1 54 hand-tied knots (Turkish, Tabriz method) to the square inch. 

Possibly no mg in the entire collection embodies so many contradictory elements, or offers 
so much material for study and speculation, as does this. The constructive significance of its 

arious features is so plain, however, that it is not difficult to reread here, though perhaps not 
clearly, the record of one of the greatest race movements Asia has ever known. 

To take the items one at a time : Pictorially, the inspiration of the carpet is Chinese ; that 
' hirdly to be disputed. The comparatively small but strong and compact medallion in the 
1S ntre, and the heavy, conventional plant forms distributed in such open but regular arrange- 
ment throughout the field are strongly suggestive of Samarkand and Kashgar ; or, for that 

atter of Tien-Tsin. The blue and white wave stripe used as background, likewise, produces 
m , tne 'effect of the interminable fret patterns which prevail in Chinese ware and textiles. But 
this particular adjustment of stripes, starting in a single rectangular arch projecting from each 

f the four sides of the medallion, and carried outward, line upon line, in perfect radiation, and 



with angular undulations in exact succession, is a recognized Persian element in design, and 
in Persian rugs, as well as in Indian fabrics copied from them, stands for water. 

The composite character of the rug is thus established, but the task of deciphering it does 
not cease there. The plant forms are used in the field here precisely as the Chinese use them, 
but there is no suggestion ot Chinese authorship in the coloring. The Kurds also make a 
specialty of this plant form, and far more exclusively than the Chinese do. It is found, 
variously drawn, in thousands of rugs, of Northern Kurdistan particularly, diversified in color 
al>out as it is here. 

The centre medallion, which in effect is Chinese, is not drawn in the octagonal or circular 
form prescribed by the Mongolian tenets, but with the so-called Vandykes that distinguish 
similar figures in the very old Persian carpets, though here the curves are broken and ungainly. 
It is edged, too, with a sort of leaf serration, such as has prevailed for centuries in the finest 
Persian designs. The small comer areas, set apart by jagged lines in much the same treat- 
ment, are such as distinguish a multitude of rugs in Irak Adjemi, the central province of 
Persia. And attention must be paid to the flower shapes which occupy the central medallion 
and comers. They are in the profile form, which pertains, as suggested elsewhere, to Western 
Persia and Anatolia. (See Nos. 1278, 1280, and 1286.) It is very easy to trace this profile 
form backward along the path it has travelled, from the Dardanelles, through Anatolia and 
Mesopotamia, over the mountains of Kurdistan, in Persia as far south as Shiraz and Bagdad, 
and in the Caucasus all the way to Daghestan. 

In color there is little suggestion of Samarkand. The combination of blue centre and wine- 
red border, now softened to a rose tint, are thorough Persian. The central blue is the blue 
of Kurdistan and Western Persia, not of Asia Minor. There appears, too, in the comers, 
the plum color of the Feraghans of Central Persia, a color rarely, if ever, used elsewhere. 
In the narrow border stripe, repeated at regular intervals, is the small, rectilinear, stemless 
flower pattern characteristic of the rugs of Karabagh, which is just across the Araxus and 
was formerly part of the Persian dominion. The black delineations are interesting. This 
is the same black which the Ghiordes weavers used for this purpose, and which eats away 
the wool as the other colors soften with age. (See Nos. 1286 and 1305.) The main border 
lias significance both in color and design. The lancet leaf is used, combined with what is doubt- 
less a Kurdish tree device, and the pink on red is in imitation of the earlier and more elaborate 
rugs of Middle and Southern Persia. 

Since this rag was made, the map and population of Persia have changed materially. 
Cities then important have vanished or become mere huddles of mud dwellings ; but when 
this singular bit of weaving was done, the influence of the Turko-Mongol invasion was still 
strong in Persia, and Persian captives or their descendants were still weaving on the looms of 
Samarkand. That the rug is of Mongol inspiration seems plain, but it is so eloquent in color 
and textile habit, as well as in design, of the Persia of its time, that I am forced to believe 
that it was woven by one of the numberless artisans whom Mongol invaders took back to 
Samarkand, or else by some Samarkandi taught by these Persian masters. 



1296 — Heavy Kurdish Kali. 

Length, 1 1 feet ; width, 5 feet. 

48 hand-tied knots (Turkish, double yarns) to the square inch. 

The Herat, or " fish " design, so generally employed in every part of Persia, is laid upon a 
ground of deep blue. The yellows and reds are those common to Kurdistan, and the rose-pink 
shades are particularly good. The pile is worn down in places almost to the foundations, and 
age has materially softened the colors ; but the gloss, for which Kurdish wool has so good 3 
name, is not lost. The kali, usually in alxaut this proportion as to length and breadth, is the 
centre piece in the triclinium arrangement. 



1297— Baku Rug. 



Length, 11 feet 10 inches; width, 5 feet. 

90 hand-tied knots (Turkish) to the square inch. 

This would be held in most respects a good example of the Kabestan weavings, but it 
happens to have been made farther to the east, in the old province of Baku, which touches 
the Caspian. The finishings of the rug are the chief points of difference between it and the 
Kabestan products. In this respect, the customs of Shirvan, which adjoin upon the south, are 
followed. There is apparent the typical Caucasian color, brightness, and clarity. The cleanly 
defined medallions are the common framework of the Kabestan and Daghestan designs ; the 
barber-pole stripe of the Turko-Tartar rugs and the conventionalized flower forms which have 
come from the eastern shore of the Caspian are not lacking ; but over the blue ground lying 
outside the medallion are strewn in bold array the " pear" figures telling of the ancient Persian 
faith, which throve here at the altars of perpetual fire centuries before Mohammed. This "pear," 
" cone, " or " flame " shape, for which so many men have found so many derivations, is, for 
some reason, drawn in the Kabestans and neighboring rugs very much as it is in the fabrics of 
Shiraz and Laristan — big, and ornamented with tree characteristics. Can it be that this form 
of the ancient sign of Persia was also taken to the south by the migratory tribes who had dwelt 
about the fire altars of the Caucasus ? 

In this rug, which shows so much of composite character, there is good display of the 
yellows used by the Lesghians a little farther to the west. The shading of the ground colors, 
particularly the blue in the border and the " pear " figures, is trace of the Kabestan influence, 
the source and centre of which are so near at hand. 



1298—Karabagh Strip. 

Length, 1 2 feet 7 inches ; width, 3 feet 2 inches. 

99 hand-tied knots (Turkish) to the square inch. 

There is marked similarity between this and No. 1301. The field here is broken by filling 
the vacant blue spaces with small diamond-shaped devices. The indented Tcherkess cross, 
which appears large, projecting into the field of No. 1301, is not found in this strip. Other 
things are substituted. In coloring, also, there are points of divergence, particularly in the 
"reciprocal" stripes. 



1299 — Large Baku Rug, 

Length, 12 feet ; width, 5 feet 2 inches. 

80 hand-tied knots (Turkish) to the square inch. 

These rags, it is remarked in connection with another piece in the collection (No. 1297), 
are in all points of design identical with many of the Kabestans. It is worth noting, however, 
that many pieces made years ago in this section are found in which bufT or fawn-yellow prevails 
in one or more values, running sometimes into a deep brown. In most of these, it would seem, 
the color was in the beginning some shade of red which time and the necessary washings have 
converted into buff. Often the original red can be found at the bottom of the knots. It is 



in this point, almost solely, that these fabrics differ from the genuine Kabestans, whose colors 
are fast and past criticism. The fading seems, though, to be rather a fulfilment of the weaver's 
purpose than a mishap. The blue ground, which is customary, is usually a stable color, and 
when the yellow has been developed in the other parts of the rug the yellow and blue effect is 
almost as complete as it is in the rugs of Kulah (see Nos. 1278 and 12S0). Whatever the 
method of obtaining this eccentric coloration, the result, it must be conceded, is most artistic. 

One place is noticeable in the field of the rug, where a bar of this yellowish tinge has been 
developed in the blue ground of the field. At one end the lighter color appears alone, but in a 
deeper tone than elsewhere. The profile flowers, recognized as of Asia Minor, are perceptible 
in the comers and in the central medallion, which is of the regulation Caucasian outline. The 
pear device, which covers the remaining space in the field, is of the Kabestans. 



1300 — Karabagh or Gandja Strip. 

Length, 13 feet 2 inches; width, 3 feet. 

99 hand-tied knots (Turkish) to the square inch. 

A sterling rug, though showing in some measure the effects of severe use. The golden 
yellow ground, broken only by bands of lighter color, in deference to the superstitious fear of 
absolute regularity, is good. The design is rather unusual, and, considering that without 
doubt the rug is of nomad manufacture, is wrought with considerable skill. The dominant 
element in the centre suggests strongly the coordinate design of the Djushaghan (Persian) 
carpets, but is even more complicated than that, in so much as its resultant is a repeated 
leaf form, while the Djushaghan pattern, arranged diagonally, produces the simpler sem- 
blance of cross and stars in alternate areas. The ground space thus left is here occupied 
by conventional Tartar figures, the specific meaning of which is probably lost, but which are 
undoubtedly drawn from some severe form of insect life. This inference is borne out by 
the presence of the tarantula figure in the border. All the features of the design, not omit- 
ting the " barber-pole " stripe, which appears in its intricate form, seem to have come from 
the Turko-Tartar territories away beyond the Caspian. 



1301 — Karabagh Strip. 

Length, 13 feet 4 inches; width, } feet 4 inches. 

99 hand-tied knots (Turkish) to the square inch. 

The Turkoman idea is strongly followed in the central design ; the tree motive, with a 
narrow " barber-pole " stripe serving as a trunk, is very common in many of the Yomud and 
Bokhara rugs, where it is used as a border device. The borders here are characteristic of 
the Karabagh and so-called Gandja products — the " wine-glass " pattern in the wider border 
and the reciprocals in the narrow ones. The colors are big and bold ; the blue field of good 
quality. Strips from this section are by no means so plentiful as they were, for the output 
of Karabagh, since Russia obtained control of the Caucasus and transportation became 
easier, has been chiefly in small oblong rugs, and the weaving of runners has been left for 
the most part to the Kurds of Western Persia and Mesopotamia. 



1 302 — Kurdish Strip . 



Length, 20 feet 8 inches ; width, 3 feet 6 inches. 

48 hand-tied knots (Turkish, doubled) to the square inch. 

A sterling piece of heavy carpet from Kurdistan, presenting in its field an alternation of 
the standard pear and tree patterns. The pear is drawn in such fashion as to resemble in 
its ornamentation the tree form of Western Persia. It is a strong pattern, and gains in force 
from being set upon a wool-white ground. The profile flowers are shown in heavy form con- 
sistent with the general character of the fabric, and the vine is correspondingly strong. The 
rug is worn at the ends, from which an idea may be got, by comparison, of its original thick- 
ness ; but on the whole, its defects are few. 



1303 — Kurdish Strip. 

Length, 2 1 feet 1 1 inches : width, 3 feet 6 inches. 

48 hand-tied knots (Turkish, doubled) to the square inch. 

A companion piece to No. 1302, and so far as there is a difference this may be considered 
the better of the two. The great length of the pair is most unusual. It is rarely, save in 
the very finest of pure Persian fabrics, that the triclinium strips are precisely the same 
lentrth There is usually a difference of from an inch to a foot. In width they are apt to 
correspond much more closely. 

1304— Kurdish Strip. 

Length, 19 feet 4 inches; width, 4 feet 3 inches. 

80 hand-tied knots (Turkish) to the square inch. 

The " honeycomb" outline employed in this rug and its companion piece, No. 1309, is 
found most frequently in the Kurd weavings, and further mark of the western mountain 
people's handiwork is the use of the upright and uniform tree or plant shape. This, follow- 
ing the Kurdish habit, is so variegated in color as to give the effect of diagonal rows, alter- 
nating light and dark. The border plan, a broad stripe and two narrow guard stripes, is one 
that has had vogue in Middle and Western Persia for half a thousand years, and probably 
more- Simple conventional flowers are used in ornamentation of the borders, and the balance 
between field and border is well maintained. The only hint at realism is the interpolation, 
at the bottom of the field, of a row of rather mechanical cocks. Rude figures of this char- 
cter are not at all uncommon in the rugs made by nomad tribes all through both Kurdistan 
and the Caucasus. The Kurdistan wool is famous for its natural lustre, which increases with 

age. 

1305 — Royal Persian Rug of the Fifteenth or Earlier Sixteenth 
Century. 

Length, 1 1 feet 10 inches; width, 6 feet ij4 inches. 

600 hand-tied knots to the square inch. 

This is probably as near perfection as the woollen carpet of the East has come, or will 
come. It was a gift from the Emperor of the Persians, presumably to the Emperor of 



the Turks, for an authenticated record in the possession of its former owner set forth that the 
rug was among the effects of the Sultan Abdul Aziz of Turkey at the time of his death. The 
only pieces of this extraordinary character which have passed out of possession of the Oriental 
rulers and satraps who owned them are now locked in the treasure chambers of other 
princes, or displayed in the public or private galleries of Europe. 

It is necessary in the consideration of this carpet to take as a basis of comparison the 
nig owned by Prince Alexis Ix>banow-Rostowsky, a reproduction of which, in colors was 
published as Plate XI. in the Vienna Museum's work, " Oriental Carpets." 

In point of design the two rugs correspond so closely, they are so evidently of the same 
origin, despite some minor points of difference, that it is almost imperative that one should 
be measured and interpreted by the other. Most confirmatory of all that the fabrics them- 
selves suggest in this regard is the authenticated fact that the Lobanow-Rostowsky rug passed 
into the hands of its present owner directly from the seraglio. Having here for examination 
the color reproduction of No. 1305, the reader will be able, by means of what follows to 
form a perfect conception of the companion rug. It should also be borne in mind that there 
is a chronological and decorative relation between No. 1305 and other rugs in the present 
collection, as will be observed in the comments upon Nos. 1310 and 1314. 

Beginning with the matter of color, there appears here in the medallions of both centre 
and border the uncommon shade of wine red which is found in Nos. 1310 and 1314. The 
green, instead of being used as a ground color for the border, is applied to the production of 
a higher and infinitely more artistic effect. Upon a black central ground is spread after the 
fashion of the Sufi times (see No. 1310), a bewildering but perfectly balanced and coordinate 
display of moss-green creepers. The parent stems, which are the framework of the vine 
structure, are in a deep shade of orange, outlined with more pronounced red. Even these 
are slender and curved in the most graceful manner; but the green branches, leaves tendrils 
and even flower shapes which grow out from them, are of incredible delicacy and profusion! 
Here and there, at regular intervals, and in corresponding positions on both sides and ends 
of the field, are tiny natural flowers, in glowing colors, similar to those seen in such plenty 
in the Ardebil carpet, save that in number and size they are reduced to a minimum in order 
not to distract attention from the more essential animal figures which inhabit the field. 

In the centre is a medallion, with what for the sake of clearness may be termed " escal- 
loped edges," and depending from this, toward each end of the rug, though with no pretense 
at actuality, are the temple lamps. Medallion and lamp simulacra are both grounded in 
what has been called the Ispahan red, and upon this, in pink — a faint, unobtrusive but 
withal beautiful contrast — other fragile interwoven vine traceries. 

This serves merely as a composite background for the superb arabesque design worked 
in silver thread, the pile yams apparently having been omitted to allow the metal threads 
to be attached directly to the warp, in what closely resembles the Soumak or tapestry stitch 
A very similar device is also found in the centre of the Ardebil carpet. 

In the innermost space of the medallion, symmetrically grouped, are four birds 
evidently of the hawk tribe, drawn with much skill and considerable veracity. Outside 
the medallion, disposed amid the green in the most lifelike attitudes of flight, pursuit com- 
bat, etc., are the animais which play such prominent parts in the Moslem allegories and 
which were, in fact, endowed with such large mythological significance by the peoples of 
Asia long before the rise of Mohammedanism. The profundity of meaning which attaches 
to these divers beasts, and even to their sundry attitudes and occupations, is hard to come 
at; but it is impossible to overlook the difference in posture and relation to one another 
between the animals in the Ix>banow-Rostowsky rug and this. It is quite to be credited 
too, that these changed attitudes and relationships, coupled with the wholly dissimilar color 
scheme, is meant to convey a different meaning, to depict another state of feelings, another 
stage in the progress of the endless contest between right and wrong that the animal entities 
are supposed to typify. 

Without endeavoring to expound the beliefs of which the animal kingdom provides 
visible symbols, it will suffice to repeat that the beasts of prey generally represent tight 
victory, glory, right ; and such as deer, gazelles, sheep, goats, and the like, the opposite! 
In the Lobanow-Rostowsky rug the central field is of a lighter color, verging on yellow and 



corner spaces are formally set off, occupied by the heron and other birds. Here the corners 
are abandoned, and the birds included in the centre medallion, the heron, usually an emblem 
of long life, being omitted. It should be noted that the birds of the hawk tribe have been 
in all lands and ages suggestive of victory. The coincidences in color and design here are 
scarcely to be dismissed. They suggest much. The heron is left out ; the hawks, which 
occupy the corner spaces in the other rug, are here transferred to the centre of the carpet. 
The background is laid in funereal black, but traversed and overspread with the nascent green 
which is emblematic of renewal, perpetuity, and great spiritual joy. 

Thus, without translating the inscriptions on the rug, which will be referred to later on, 
there is a suggestion of death, coupled at the same time with repeated symbols of victory, 
and a suggestion of fierce prosecution of the endless struggle between right and wrong, light 
and darkness. 

But the contest as figuratively set down in this carpet seems to have progressed to the 
point of partial conquest, since the panther has captured the fawn and bears it down, whereas 
in the Lobanow-Rostowsky nig the movements of pursuit and flight among all the animals 
seem to have just begun. Jackals still follow the track of the deer; the leopard, a bold and 
fierce figure, crouches in his thicket of green, ready to spring upon the he-goats, warring 
powers of evil. The huge red lion, Persia's own symbolical beast, an element not shown in 
the other rug, roars on the trail of the spotted stag, which turns, terrified. In deep 
thickets, close to the lairs of lions and leopards, the timid rabbit hides in dread, or else- 
where takes refuge in flight. 

Yellow has in all ages been expressive of joy and victory. It is royally displayed in the 
broad borders of the rug, overspread with fine vine patterns in a monotone of orange. In 
the border of the Lobanow-Rostowsky rug there are, all told, six cartouches, grounded in 
black of the same shape as those found in the Ardebil carpet, and joined by escalloped 
medallions in the same manner. But in No. 1305 there are twelve of these cartouches, instead 
of six and they have a ground color of the Ispahan red, inlaid with pink vines, similar to 
the medallion in the centre. Again the idea of immortality is to the fore, as that is the 
ordinary significance of the cartouche. 

Thus, from first to last, in spite of the black centre, which suggests a mourning carpet, 
there is the note of triumph, joy, and immortality. In view of the intermittently hostile 
relations maintained between Persia and Turkey during the era when the rug was unques- 
tionably made, all that is to be read in its design is most vital, and seems expressive of 
some phase of history, which was then making so vigorously. 

The inscriptions in the Lobanow-Rostowsky rug have been thus translated in the book 
in which the colored reproduction is published : 

" Oh Thou, whose abode is the scat of justice, 
To whom throne carpets serve as the covering of thy way, 

■■ Whose court the zephyr, as chamberlain, 
With the hair of his eyelids sweeps clean. 

" To whom in the household of enjoyment is full satisfaction. 
The companion ever is success, and whose refuge is God himself. 

" To whom Darius, Alexander, and Feridun 
Are as the meanest of his army, 

" Thou possessest magnanimity and charity, 
The inhabitants of both worlds, here and above, pray for thee. 

" May thy power still everlastingly endure, 
And at thy command the sun and moon circling revolve." 



The tenor of these couplets establishes almost beyond question the truth of the declara- 
that the carpet was made as a gift for the Sultan at that time reigning in Turkey. 
' Whatever temporal significance the carpet may have borne as a gift from one monarch 
ther, the g enera i interpretation outlined above is amply sustained by the inscriptions 



in the border, a most sympathetic translation of which has been made by Dr. Richard J. H. 
Gottheil, of Columbia University. With his permission it is here given : 

"O Saki, the zephyr of the spring is blowing now; 
The rose has become fresh and luxuriant. 

"The drops of the dew are like pearls in the cup ot the tulip. 

And the tulip unfolds its glorious flag. 

" Narcissus keeps its eye on the stars, 
Like the nighiwatch throughout the night. 

" To sit alone in the desert is not 
Isolation, with the company of wine. 

"When Saki passes the beautiful cup around. 
The rosy cheeks of the beauties become 

" Violet for the love of the rose. 
And look like the purple robe of a horseman." 

The lines, though it is difficult to locate them precisely, are, like nearly all the inscrip- 
tions found in Persian fabrics of whatever age, a quotation from one of the poets of that most 
poetical of all eras, and perfectly illustrative of the high artistic impulse which centuries of 
war, pillage, gradually waning power, and swiftly increasing poverty and suffering have 
failed to eliminate from the Persian nature. 

Another important difference between the carpets which have been here "paired" in con- 
sideration is the absence from No. 1305 of the Chinese cloud band, which figures so promi- 
nently in the other piece. The rug No. 1305 is excessively and exclusively Persian, and of 
the purest type. There is plainly some earlier and more purely Iranian influence at work in 
it even than that which designed the Ardebil carpet, for in that the cloud band, repeated 
times without number, completely fills the inner narrow stripe of border, while here it is 
omitted along with everything else that is not wholly Persian in character. In the medal- 
lions between the inscribed cartouches there will be seen the light blue which afterwards 
became so common in the Ispahan rugs, and particularly those of the Shah Abbas class (see 
Nos. 1310 and 1314). 

The lotus flower, so gigantic in the Shah Abbas design, is here in many places, but very 
modestly drawn, even more so than it is in No. 1310, and in some places merely laid in green 
as an addition to the dense foliage mass in the centre. 

Something should be said regarding the condition of this most remarkable fabric. Since 
coming to this country many years ago it has been once exhibited in public, and privately 
examined by many persons. Some of these have not hesitated to say that the centre of the 
rug alone was genuinely old, and that the superb yellow border, with its cartouches of 
Ispahan red, its inscriptions in silver thread, and all the rest, had been added at a later 
period to replace the original border, which had lieen worn away. 

These opinions have been founded, I presume, upon the fact that the black ground 
of the centre is so badly worn that the yellow silk foundations show through in many 
places. Whether this be the reason or no, the contention is ridiculous. This black dye. 
decocted with the aid of iron filings, is notorious throughout Asia for its corrosion of the 
wool, as stated elsewhere in this catalogue, while there is no color less injurious than the 
vellows, which are made from the Persian yellow berries. It may be true, or it may not, that 
Eastern weavers use this dye in order that the designs laid upon it in some livelier color may 
ultimately stand out in actual relief, an effect of which the Oriental is intensely fond. The 
manner in which the green creepers and leaves are thrown up by the means in "this carpet is 
certainly admirable, whether it was intentional or not. 

It is easv to multiply arguments which must convince any person of the absolute genuine- 
ness and integrity of this carpet. A new border assuredly need not have been woven on for a 
rentury, for the commonest of rugs will last that long under Oriental usage without material 



injury. Where, then, after the middle of the seventeenth century, was the Ispahan red to be 
found for the border cartouches, to match so precisely the shade of the centre medallion ? But 
the most conclusive of all arguments is that examination of the back of the rug, long ago cov- 
ered with cloth in order to protect it, shows, with or without the aid of the glass, that the 
warp is unbroken between the field and border at the ends ; that only one quality of material 
is used; and that the knots, amazingly fine and regular, proceed over the dividing line 
absolutely without interruption. 

The worn spot in any Eastern carpet that has been long used in an apartment of state 
is almost always at one end of the field, where the owner or user sits. Servants or guests, 
or in this case, subjects, would surely never have ventured to set foot upon the rug. The 
condition of the fabric bears out this inference as to the cause. One end of the field is very 
badly worn— so badly that here and there the ground vines have almost entirely disappeared. 
In such places effort at restoration has been made, threads of black silk, apparently, being 
used for the purpose. The undertaking was a lamentable failure, and was abandoned, the 
paint-brush being used instead. Considerable portions of the ground space, it can be plainly 
seen, have been daubed with some dull black pigment, which at least preserves the color 
scheme and pictorial integrity of the rug. In two places, one on each side of the field, near 
the medallion, and adjoining two corresponding ■flowers which are laid in silver thread, 
artisans of a later day have tried to weave in small portions of the design, and on one side 
effort has been made to replace part of the silver flower itself. Nothing, in view of the 
criticism that has been passed on this rug, could be more fortunate than this. The botch 
that has been made of these small essays shows beyond possibility of dispute what likelihood 
there is that any weaver within the last two centuries has ever woven in anew the entire 
border system. 



13 0(j — Kashkai Shira{ Kali. 

Length, 14 feet 5 inches; width, 5 feet 8 inches. 

48 hand-tied knots (Turkish, doubled) to the square inch. 

Most of what has been said of No. 1291 is equally applicable to this piece. There is ap- 
renthere tne sa me likeness to theTchechen and other Caucasian fabrics, the same multitude 
of small separate patterns scattered throughout the field wherever ground space offers. Some- 
what shorter than No. 1291, and a little more compact in pile, considerably older, and 
bearing witness to the hard wear it has undergone, the rug is still strong in color and 
fit for many decades of service. 



1307 — Koultuk Runner, or MakatUk. 

Length, 15 feet 10 inches; width, 3 feet 3 inches. 

56 hand-tied knots (Turkish) to the square inch. 

Of the Herat, or " fish" pattern, which is wrought into the rugs of practically ever)' prov- 
ince of Persia, there are two common forms. One is closely woven, showing but little of the 



ground color j the other, on a larger scale, or at least more openly, with less of diaper effect, 
and depending for effectiveness on the strong relief in which the design stands out upon its 
field. This strip, woven by the shepherd tribes in Northwestern Persia, is illustrative of the 
open form. In the broad border it carries, rather largely drawn, the repeated " S" shape of 
the Turks, itself a very ancient symbol. The narrow borders show the influence of Southern 
Kurdistan, in many of whose heavy carpets is found the heavy version of the vine and flower 
here employed. The variegation in the overcasting is a hint from the rugs of Shiraz ; the 
sudden shifting of colors in several parts of the design is Kurdish, and from Kurdistan 
also, no doubt, are derived the excellent yellow and blue which predominate in field and 
border. 



1308 — Laristan Rug. 

Length, 15 feet; width, 5 feet 6 inches. 

63 hand-tied knots (Turkish) to the square inch. 

No doubt an overwhelming majority of the rug-wise would promptly class this rug of Shiraz. 
It would be inventoried as such in all Western rug markets, inclusive, probably, of Constanti- 
nople itself. For substantial reasons, however, it may be more accurately placed among the 
products of Laristan, lying south of Farsistan. There is a phenomenal depth and lustre in 
the blue, which is usually found only in the heavy nigs of the Mina Khani design, chiefly 
woven a little farther northward, in the mountain country of the Zagros and Bakhtiyar'i. The 
Shiraz indication in this piece is the striped webbing at the ends, which is really a Turko- 
man conceit, brought into the south by migratory northern tribes, and not found in the pure 
old Shiraz products. Shiraz being the metropolis of the southwest, and a collecting point 
for the rugs of that territory, has, like Bokhara in Turkestan, unquestionably given its name 
to many rugs made at considerable distance away. This "pear" or "cone" pattern is 
most prominent in the carpets of Sarawan (Saraband), where it fills up the entire ground, 
and throughout lower Kurdistan and the provinces lying over against the Persian Gulf. In 
the Sarabands it is small, but seems to increase in size as it journeys southward, arriving in 
Laristan and Western Farsistan at a magnitude equalled only in certain Kabestans and Baku 
fabrics. (See No. 1297.) What makes it more likely that this form of the pattern has been 
developed in the western ranges is that its decoration, sometimes most complex, gives it the 
tree form so common among the Kurds who inhabit this mountain district in such great 
numbers. In the Kurdish districts to the north the striped webbing at the ends of the ru" is 
replaced by a simple parti-colored stitching of wool ; but throughout Farsistan and Laristan 
the so-called Shiraz striping maintains. There is apparent in this splendid blue fabric how- 
ever, no trace of parti -coloration in the overcasting, which prevails in so many Shiraz rues 
even to the fine old pieces of pure Persian design. 

Dismissing argument as to the locality of its origin, attention should be called to the 
splendid consistency of the carpet, both in figuration and color. Instead of any complicated 
border design, the " pear" figure, only a little reduced in size, is used in the border and 
the border ground is a deep red, closely approaching the ruby color of the Bergamos. ' 

In the field there is just sufficient departure from the pear device to satisfy the super- 
stitious notion, common among the mountain people, that a touch of irregularity combats 
the evil spirits. Once the pear is omitted to make way for a dense array of colored spots 
representing nothing in particular. Once appears the eight-pointed star of the Medes ; twice 
the octagons, such as are found in the Tekke rugs ; and once, where half the pear figure has 
been purposely omitted, a " wooden " animal shape of the sort that figure in the carpets of 
the Caucasians and Northern Kurds. 



From its shape and dimensions there is reason to believe that this rug is only the 
sarandaz, or short strip, which lies across the end in the triclinium scheme of carpeting, and 
somewhere in the world are the huge centrepiece and the equally substantial side strips 
which were woven to accompany it. It is hard to imagine a more splendid covering for the 
floor of a large apartment than these four sections formed when they were united. The 
making of the blue, of which such magnificent display is made here, is practically a lost art 
in Persia since the introduction of the chemical dyes, and in the whole range of Persian 
fabrics it would probably be impossible to discover a finer example than this of the lumi- 
nosity of wool. 



1309 — Kurdish Strip. (Companion piece to No. 1304.) 

Length, 19 feet 2 inches; width, 3 feet. 

80 hand-tied knots (Turkish) to the square inch. 

The makatlik, or kinari — the Turkish and Persian names, respectively, for these runners — 
are merely the side strips of the triclinium arrangement, which is the most ancient form of 
floor covering for large apartments. It follows, then, that in the native manufacture these 
should be made in pairs, to accompany the centre carpet, or kali. In late years it has not 
been customary to send these pairs to America or Europe, but to separate them in the 
Persian trade centres or in Constantinople, and ship them singly to widely remote places. 
A premium is thus secured upon the pairs which are occasionally sent to the Western markets. 



1310 — Persian Carpet of Middle Sixteenth Century. 

Length, 16 feet 2 inches; width, 7 feet 1 inch. 

195 hand-tied knots (Persian) to the square inch. 

Apart from its extraordinary beauty and deft workmanship, this carpet is of large interest 
as an historical index. In the sixteenth century Persia was at the zenith in point both of power 
and artistic development. Kvents followed each other with extraordinary rapidity. Wealth 
was fabulously increased by conquest, and was poured out, as it never has been in any suc- 
ceeding epoch, upon the cultivation of the arts and the construction of great public works, 
both of architecture and engineering. The effect of this renaissance in thought and 
accomplishment all the subsequent disaster, degeneration, anc poverty have not wholly 
obliterated. ■ 

Throughout the ascendancy of the Sufi dynasty Persia was a land inspired. The reaction 
from the influence of the Turkoman rulers who followed Tamerlane was mighty and wide- 
spread. During the earlier reigns — that of Ismael Sufi in particular — aestheticism was the 
very life and breath of the people. The poets were the teachers, more heroic figures in 
popular vision even than the warriors. Every workman knew his Hafiz, and couplets of verse 
were woven into the carpets in designs which are copied into the finer fabrics even to this 
day- Tli e Ardebil carpet, now famous, which was woven for the tomb of Sheikh Sufi, 
founder of the line and father of Ismael — is perhaps the most perfect textile exposition of 
the art of that time, and fixes a standard of comparison that has become indispensable. 



With the advent of Abbas the Great began a period of conquest, a restoration of the 
boundaries of the empire in all directions, and an establishment of closer relations with the 
nations of Europe. A more practical spirit prevailed, and the change is plainly visible in 
the weavings. 

It is quite the custom to give to all the carpets of this peculiar coloring, and embodying 
these features of design, the name of " Shah Abbas," and to fix the period as the sixteenth 
century ; but it must be observed that the most distinguished of Persian rulers did not mount 
the throne until 1586, and that for some years thereafter he lay ill, while enemies and rebels 
devastated his empire. After him, for nearly a hundred years, Persia was stagnant. His 
immediate successors were debauchees or idlers, through whose neglect achievement in art 
as well as arms was suffered to decline. 

Considering the internal evidences of this carpet, I incline to the belief that it is not 
strictly of the Shah Abbas group, although the ground colors of field and border are like, 
and there are incipient in it the features which afterwards distinguished the undisputed 
Shah Abbas design. The softness of the color and many things in the figuration claim 
for it a somewhat earlier place in the century. It marks an intermediate stage in the evolu- 
tion of carpet patterns. 

In order to make clear the ground for this inference, it is necessary to invite comparison 
of this carpet with several others in the collection. In this order — 1282, 1284, 1305, 1310, 
1314 — they seem to tell a chronological story of the trend of artistic accomplishment in 
Iran, and trace the changing spirit of the people during the sixteenth and earlier part of 
the seventeenth centuries. 

Reserving for its proper place all comment on the other pieces referred to, it suffices to 
say regarding No. 1310 that it retains in large measure the fine vine effects which make the 
field of No. 1305 so indescribably rich and beautiful, and which, with considerable attendant 
floral display, distinguish the masterpiece of Ardebil. (See "Oriental Rugs," page 244.) 
The touch of the finer sentiment is here, a breath of the earlier atmosphere which was per- 
vaded by the poesy of Hafiz and the lofty moralism of Sa'di. The exquisite nature suggestion 
obtainable only by the use of green for the vines and creepers is the chief charm of the 
carpet; its shrewd modulation of color— a lighter shade of the Ispahan red being chosen to 
harmonize with the slender, curving vines and shoots — bespeaks for the weaver a delicate 
sensibility to atmosphere and precise color value. This combination of wine color for the 
field and green for the border is peculiarly characteristic of the Persian art of the gTeat cen- 
tury; but in the figuration are the elements which later on, increasing in magnitude as the 
Persian life became less of a dream and more of a struggle, made up the recognized Shah 
Abbas design. The lotus forms and the cloud band — the latter introduced into Persian 
design from the East — are here, and they are in the Ardebil carpet, but not in the Titanic 
size or bold color which they bore fifty years afterwards, and which they still retain in the 
big carpets of modern Persia. There is also discernible in minute form in the border the 
lancet leaf, and, as dominant factors, the bold rosette and palmette, in alternation, all of 
which were combined to make the regulation Herati design of later times. 

That the weavers of the capital — for it seems past question that the carpets of this class 
were made upon the palace looms of Ispahan — still worked with a masterly comprehension 
of ultimate general effect, is further proven by the emphasis in the field of this rug. These 
are effected in the simplest manner, by projecting a very few of the leaf and flower forms in 
the centre and at the ends of the field in stronger and darker color. In the centre a perfect 
medallion effect is thus secured without the use of any cumbrous outline figure, and at the 
ends, by the aid of the palmette shape and the leaf, the accent is carried into the corners 
and a clever harmony established between the field and the deep green and more pronounced 
pattern of the border. 

Special heed should be given to the palmettes and lotus forms in this rug. They are 
the foundation elements of the recognized Shah Abbas design, which seems to have reached 
its final stage of evolution during the latter part of the century, and which, subject, of course, 
to the general decadence of Persian art and craftsmanship, has remained to the present time. 
The next step in its development may be seen in No. 1314. 



1311 — Very Old Caucasian Fragment. 



Length, 14 feet 6 inches; width, 10 feet 2 inches. 

80 hand-tied knots (Turkish) to the square inch. 

The ruin of a rug which in its lifetime must have been of bold, pleasing design and excel- 
lent color. It is probably of the Karabagh or some other Caucasian variety, to judge from 
what is left of the piled design and the finishings. In the beginning it was considerably 
larger than it is now. The place where it has been cut in the middle and joined again is 
clearly visible. The outer narrow border is gone. These narrow stripes, to judge from the 
inner ones, were grounded in wool white. The main border had probably a pale blue ground, 
and carried a design remotely derived from the Persian, but treated in the rectilinear manner 
of the Caucasians. The ground color of the field was a pronounced red, much like that used 
in parts of the Caucasus and Asia Minor. Upon this are some bold medallions, in various 
colors, some traces of which, notably the green, remain. One of the most prominent figures 
is a modified tarantula form, which appears alternately with others in the ground, and in 
yellow in the large escutcheon of the main border. A considerable amount of excellent 
yellow was used, particularly to outline the vines, which were big and irregular. The paint- 
brush has been called into service to restore some of the decorative effect of the fabric, but 
in the painting no effort has been made to counterfeit the design, no deception has been 
practised. The object seems to have been merely to break the blank expanse of white pre- 
sented by the pileless foundations, which age has left exposed, and as a curio or a wall 
ornament the rug still possesses most admirable qualities. 



1312 — Chinese Rug. 

Length, 14 feet 2 inches; width, 14 feet 9 inches. 

42 hand-tied knots (Persian) to the square inch. 

It will be hard to find a better illustration than this of the heavy, old Chinese rugs, of 
which so many inferior and oftentimes worthless copies are seen nowadays. In coloring as 
well as design it is Mongolian in character, with little if any hint of Persian or other influ- 
ence. It is worthy of remark, as indicative of the individuality of Chinese design, that while 
Chinese decorative conceits and textile methods have found their way in plenty into the rugs 
of almost every part of Asia, there is little or nothing in the native products of China, or even 
of Chinese Turkestan, to show a yielding to Persian or any other Western influence. In the 
rugs of Samarkand, many of them woven under Persian instruction, and in some fabrics of 
Afghanistan, which was formerly part and parcel of the Persian Empire, there are some 
Persian patterns. As for the texture, it is impossible to say whether the knot here used— 
generally known as the Sehna, or Persian knot — is really a Persian invention or that of some 
Mongolian country farther to the east. 

A glowing virtue of the rug, in these days of square rooms, is its shape, a most unusual 
one. In spite of its size it will be noticed that one dimension exceeds the other by only 
seven inches, and that this proportion is nearly maintained in the great four-sided squares 
into which the field is divided. The colors used are few, only four or five altogether, and 
a singular softness is lent to these by the almost horizontal " lie " of the pile, an effect pro- 
duced by a multiplication of the weft yarns. With the side rather than the ends of the yarns 
exposed, the light has full play upon the colors, which gain or lose in illumination as the 
view-point is changed. This is most perceptible in the extraordinary color used for the 



ground — a color purely Chinese, and for which there is no single descriptive term. Some- 
times it is a pale salmon pink, again a deep tinge of terra-cotta appears, and from yet 
another angle it is almost yellow. The line with which the great squares are defined upon 
this is double, of light blue and dark blue. The effect of all this would be hard and 
unpleasant, were it not that the corners of every square are, after a fashion, truncated, and 
the four contingent triangles thus cut from four adjoining squares go to form smaller lozenge 
shapes, which relieve the heavy effect of the larger figures at the point where intersection 
would be expected. Even there the weaver's ingenuity is not exhausted. The whole design 
is further lightened by forming the lozenge shapes, not with severe rectilinear drawing, but 
by turning the straight lines back in counter-balancing semicircles. Thus, despite the pre- 
ponderance of the rectilinear, every parti-colored straight line ends in a curve. The staring 
blank space within each big panel is relieved with a realistic figure of some sort. These run 
in rows. In one tow are dragons, in another birds, in yet others a flower or a stem of 
flowers, as the case may be. These flower stems are the prototypes of those found in the 
borders of many Ghiordes prayer rugs. 

Nothing about the rug shows the skill of its designers in the production of color effects 
more clearly than the border. Its ground color, unlike that of nearly all rugs of Western Asia, 
is the same as that of the field, from which it is set apart by the heavy line of dark blue and 
light blue, supplemented merely by an equally heavy line of white. The division is com- 
plete, but so easily accomplished that the unity of the whole is not in the smallest degree 
disturbed. It is still further maintained by laying the border pattern in pale golden yellow 
upon the reddish-pink ground, a trick of coloring much practised by the earlier Persian 
weavers. To give a final uplift to the rug's bright and harmonious coloring, there is woven 
outside the design a broad band of dingy brown, such as is seen in well-nigh all the weavings 
of Hamadan and in many from the Kurdish country adjoining. In these fabrics the filament 
used is camel's hair in its natural state, but it is plain from both the color and quality of 
the band in the Chinese rug that it is composed of some other animal filament, which may 
be, and probably is, the fleece of the yak, or water buffalo, so frequent in Western China and 
some neighboring countries. The age of the rug and the wonderful fastness of its colors are 
to be inferred from the worn condition of the outer band. 



1313 — Antique India Rag. 

Length, 20 feet 5 inches ; width, 14 feet 8 inches. 

(>4 hand-tied knots to the square inch. 

Nothing is more rarely encountered in rug collections in this century than are the old- 
school rugs of India, of which this is an indubitable example. The excellent material, 
sterling color, and thorough workmanship which prevailed in India up to less than seventy- 
five years ago gave way before the organization of the prison industry, and the caste weavers 
were practically driven from the looms through their inability to compete with contract labor 
in the jails. 

The demand for the old-fashioned carpets of India — T.ahore, Cashmere, Warungul, and 
other weaving centres — has always been great, especially in England. When the products 
became debauched by the prison system, the old pieces began to command large prices, 
which increased at a rapid pace. For many years now these fabrics have been utterly unob- 
tainable through the channels of commerce. 

The carpet industry of India, even in the beginning, was a Mohammedan importation, 
and in the northern provinces patterns as well as textile methods were borrowed from the 
Persians, so that the old carpets of I.ahore and Delhi were almost perfect counterparts of 
those woven about Ghayn, Burujird, Meshhed, and other parts of the Persian province of 



Khorassan. The new and steadily improving industry of carpet making in India follows the 
same teaching, and while the fabrics are incomparably better than the prison output in 
quality and color, in fact equal to many grades of Persian carpets, the designs used are 
chiefly of a Persian character, modified and combined by European and American artists to 
catch the Western fancy. 

In the central and southern parts of India, however, the Hindu designs were rather 
persistently adhered to. It is difficult, nay, impossible, to discover in this carpet any stand- 
ard Persian features of design. The rug is floral in character, and in its field the drawing 
of vines, leaves, and flowers is distinctly realistic ; but none of the recognized Persian devices 
is here. The lattice arrangement, effected by the vines upon the white ground, is much 
more suggestive of the Turko-Tartar or Moghal influences, though the geometrical treatment 
apparent in all Turkoman fabrics as far south as Iieluchistan is missing. 

This absence of Persian traces would indicate that the rug was woven in some place 
rather well to the south, in which the Hindu population remained more independent. The 
southernmost parts of India, however, have always suffered from a scarcity of workable wool, 
and the native carpets woven there have usually been made of cotton. When, under the 
Mohammedan sway and afterwards, wool rugs were made in the southern provinces of India, 
it was necessary to bring wool from the Punjab, or even farther north, and the same thing 
is done to this day. It is altogether likely that such is the case with this rug. It is quite 
impossible to fix definitely upon the place where it was woven, or to determine its exact 
age though its excellent color — witness the deep red throughout — is proof that it was made 
long before the deterioration of dyes or patterns set in. The condition of the pile also cor- 
roborates this conclusion. Experts who have been asked to pass judgment upon it hold the 
opinion that it is one of the older products of Masulipatam, on the eastern coast. 

The borders, not in design, but in number, afford the only hint of Persian influence. 
This same multiplicity of narrow stripes flanking the broad principal stripe is found even 
to the present time in the heavy carpets of Khorassan, where their pictorial value is practi- 
cally the same as it is here. The border design is wholly Indian in character. 

One of the most interesting features of the rug is the grayish-brown material used in all 
Darts of it in working out the design. This seems, under the glass, to be a mixture of 
some animal hair with the remarkable vegetable fibre used so extensively in various parts of 
India, even now, in textiles. The absence of dye in these ashen-brown spaces has apparently 
served to prolong the life of the filament, and wherever it is used the pile stands in very 
palpable relief above the dyed surfaces surrounding it. 

Whatever its actual birthplace, there is such genuineness about the carpet, such uncom- 
monness of design, such solidity of texture, such strength and honesty of color, and such 
a bright and altogether likable appearance generally, that it would command attention even 
were it not, as beyond question it is, one of a class now extinct, and which, in all proba- 
bility, will never be revived. 



1314 — Sixteenth Century Ispahan. 

Length, 22 feet 8 inches; width, 9 feet 5 inches. 

1 56 hand-tied knots to the square inch. 

By contrasting this carpet with No. 1310, it is easy to measure the change which came 
over the art of Persia in the reign of Abbas. A far more virile impulse is apparent. The 
intertwined vines and creepers, so studiously spread upon the field to form a balanced design in 
No i3 io > are v ' rtua "y abandoned, and the floral devices, the lotus and the palmette shape, 
as well as the cloud band, are enlarged, not merely in proportion to the greater dimensions of 



the carpet, but for the quite evident purpose of filling the field space and replacing the fine 
complexity of vines. They are no longer flowers in natural connection with the vines, but 
have been transformed by their very enlargement into set patterns, bald, massive, and in 
such vigorous coloring as shall emphasize the design at every point. 

This strength, so impressive even after the lapse of three hundred years, was much 
greater when the carpet was new, for many of the areas were filled in with the dead black to 
which reference is made elsewhere, which consumes the wool. The disintegration and final 
disappearance of the pile in such places, leaving only the blank white of the foundations, 
has naturally brightened the whole carpet. Instead of preserving the all-over vine effect 
common to the earlier carpets, and establishing the central and corner masses by grouping 
of the large flower figures, these flowers have been so multiplied, magnified, and distributed 
as to produce in themselves a colossal diaper design. 

There is in this, too, a certain concession to the northern tendency, for while the central 
point, so essential in all the high-class weavings of the earlier time, is, in a way, retained, 
the arrangement of the huge flowers involves something of the perpendicular row effect dis- 
tinctive of the rugs of the middle and northern districts. 

At first glance the unity of the design is not apparent altogether, and the rug does not 
compare in this regard with No. 1310 ; much less, of course, with No. 1305, which was woven 
for a royal gift, and which exemplifies a far higher order of textile work. 

For sheer opulence of color — almost barbaric splendor and vigor — No. 1314 must be 
accounted a phenomenon ; but compared with the rugs which precede it in the Isapahan 
school, or even with the more delicate creations of Shiraz and of Feraghan, it appears 
cluttered. 

The border shows far less of change than the field. In width the increase is not pro- 
portionate. In fact, save for intensification of the color and perceptible enlargement of the 
subordinate flowers which are grouped as supports about the palmettes and rosettes, it is the 
identical border used in No. 1310. In the matter of texture there is every indication that this 
nig and No. 1310 came from the same looms, and were, possibly, woven under the self-same 
supervision. The peculiar quality of the ground color of all these sixteenth century Ispa- 
hans is found in few other fabrics- 
No. 1314 has suffered rather more in the wear, although not so old a carpet ; but it is cause 
for congratulation that the fabric remains complete, for it is a rare and perfect example of 
a class of products which at the present day the cultivated Persian counts among the almost 
priceless possessions. 



1315 — Old Carpet of Khorassan. 

Length, 24 feet 10 inches; width, 21 feet 4 inches. 

80 hand-tied knots (Persian) to the square inch. 

The heaviest, as well as the largest, piece in the collection. It is one of the immensely 
stout fabrics in imitation of which a multitude of big carpets are made in Northern Khorassan 
of late years. There is more of the misty sheen to the wool, which marks so many of the 
older Khorassans, though this effect may have been present when the carpet was less worn. 
It has undergone more or less injury, but has been assiduously darned, and is so tremen- 
dously strong that its durability seems hardly impaired. Its colors certainly are undimmed, 
and the design stands out with undiminished clearness. 

Strange as it may seem, Nos. 1282 and 1284 must again be consulted to discover the 
genesis of this fabric, which is so unlike them in every point of outward appearance. In the 
field there may be found, in coarsened form, and with coloring more like that of the standard 
old Feraghan, the same elements that make up the row patterns in the silk pieces referred to. 



They retain almost their original shape, the diamond shape, with the four curved leaves 
protruding from a rosette in its centre holding a prominent place. 

The huge rectangular medallion, with pendants, remotely resembling that in No. 1305, 
occupies the centre. In the pendants, and along the broad white band denning the medal- 
lion, birds are woven like those of Kirman and Shiraz. The ground inside the medallion is 
covered with the Herat design, almost in the regulation modem drawing, but, as is the 
custom in many Khorassans, the space inside the diamond is woven solidly in a russet red. 
There is just enough multiplication of the small border stripes to give the Khorassan look to 
the carpet. The broad border is quite convincing on the score of origin. It is filled with 
pear patterns set transversely, in each of which is a plant form with flowers. In every suc- 
cessive pear the plant undergoes material change in the coloring of its parts, and the effect 
is, to a nicety, that observed in certain nigs of Samarkand and Herat, especially the mosque 
prayer strips, which contain many devotional arches, side by side, to accommodate several 
persons at simultaneous worship. 



Grand Tapestries 



131G — Landscape and Figures — Flemish Tapestry. Seventeenth Century. 

In the foreground of a rural landscape a peasant in a crimson coat is shaking hands with 
a woman, who is dressed in a rose-colored bodice, and a blue skirt turned up over a crimson 
petticoat. At the back, between the two figures, stands another, wrapped in a blue mantle. 

Height, S feet 5 inches ; width, 5 feet 5 inches. 



1317 — Peasants Crossing a River — Flemish Tapestry. Seventeenth Century. 

On the left of the composition a man wades in the water, bearing on his back a woman, 
whose costume consists of a yellow skirt and rose-colored bodice. To the right a man stands 
on the bank, pointing across the stream, and by his side is a woman in white cap, with blue 
dress looped up over a rose-colored petticoat. 

Height, 8 feet 5 inches ; width, 5 feet 5 inches. 



1318 — Peasants at their Dinner — Flemish Tapestry. Seventeenth Century. 

Under a chestnut tree, which occupies the left of the composition, a party of peasants sit 
at dinner, around a small table. A man on the right of the group, wearing crimson breeches, 
turns toward the front, with a glass raised in his hand. A river extends across the middle 
distance, on the opposite bank of which is a castle, with the view of a small town beyond 
and of more distant mountains. The costumes involve a combination of rose, blue, amber, 
and white, while the landscape is rendered in pale green and blue, drab and cream, the dark 
blue leaves of the chestnut being sprinkled with warm yellow lights. 

Height, 9 feet ; width, 7 feet 10 inches. 



1319 — Landscape and Country Inn — Flemish Tapestry. Seventeenth 
Century. 

The foreground is sprinkled with flowering plants, and on each side of it rises a large tree 
with handsome wealth of foliage. Between them winds a brook, crossed by an arched bridge, 
beyond which some sheep are feeding ; while slightly farther back is a wayside inn, where 
guests, waited upon by a woman, are feasting under a penthouse roof. In the distance, upon 
the right, a chateau stands among trees. The whole is enclosed in a rich border of fruit and 
flowers, with amorini in the top corners, and pelicans in those below. The coloring is fresh 
and spirited, passing from deep shades of blue, through lighter ones and russet tones, to 
tints of warm cream, forming a notably harmonious combination, with an excellent sugges- 
tion of atmosphere. 

Height, 10 feet 5 inches ; length, 12 feet 4 inches. 



1320 — Verdure Panel — Flemish Tapestry. Seventeenth Century. 



The landscape slopes up from the front, with an abundance of trees, among which, on the 
left, is a temple-like pavilion. Farther back, to the right, stands a large mansion, built 
around a square courtyard, in front of which is an entrance tower, crowned with a dome, and 
connected with the wings of the house on each side by a curtain corridor. The color scheme 
is an effective arrangement, graded from deep indigo in the shaded parts to warm buffs in 
the sunlight. 

Height, 10 feet 7 inches; length, 13 feet 5 inches. 



1321 — Hunter Stayed by a Nymph — Flemish Tapestry. Louis XV. Period. 

Large trees rise on each side of the foreground, through the centre of which flows a stony 
brook. To the right of it a nymph in pale amber and creamy robes stays the advance of a 
young hunter, whose crimson cloak makes a brilliant contrast to the faint yellow and green 
of the hilly landscape beyond. She leans forward, with one hand on the youth's javelin, and 
the other resting upon the neck of his hound. The distant perspective is cunningly suggested, 
and the volume of foliage in the foreground is boldly broken up into masses of deep indigo, 
russet green, and golden yellow. 

Height, 9 feet 2 inches ; length, 10 feet 8 inches. 



1322 — Hunter and Stricken Nymph — Flemish Tapestry. Louis XV. Period. 

Having a large-leafed plant on the right, and framed in by trees with heavy masses of 
foliage, the landscape undulates in good perspective, a chateau showing among trees in the 
middle distance. On the right of the composition, beside a tree trunk, lies a woman in 
white robe, whose breast has been pierced with an arrow fired by a hunter. The latter, with 
a crimson drapery floating from his shoulder, is bending forward, with bow extended, and 
accompanied by a dog. The landscape is rendered with very pleasing freedom and breadth 
of effect, the foliage being especially effective in its handsome union of indigo and warm 
gray, while the ground is treated in tones of cream and pale amber. 

Height, 9 feet 4 inches ; length, 10 feet 10 inches. 

1323 — Ceres — French Tapestry Panel. Louis XV. Period. 

In a beautiful landscape, sloping up toward the left, the harvesters are at work amid the 
yellow wheat, and in the foreground stands a woman with a sheaf upon her head, while 
another woman and a man kneel upon the ground. Their eyes and hands are raised in sup- 
plication to the goddess, who, in the centre of the composition, is descending through the 
air a glistening white robe floating round her form, and a light cloud hovering over her hands, 
that are held in act of dropping plenty upon the earth. The lovely figure is shown against 
the dark olive foliage and tree stems of a grove, which surrounds a statue of herself. In the 
left of the foreground is a golden-brown chariot, on the floor of which a figure in white tunic 
embroidered with gold, and wrapped about with a scarf, sets one foot. Its back is toward 
the spectator, and the gesture of the arms invites the goddess to enter the chariot. 

Height, 10 feet ; length, 11 feet 8 inches. 



1324 — Peasants and Hunter — French Tapestry. Louis XV. Period. 

Beside their sheep, on the left of the picture, sit a shepherd in blue costume and a 
shepherdess in white dress and red bodice. On the right, with his back to them, sits a hunter 
in scarlet coat, with a gun in his hand and a dog at his feet. Trees with foliage of tender 
russet tints frame the group, and almost unite over a landscape where a stream winds between 
irregular banks, on which are ruins. 

Height, S feet 3 inches ; width, 5 feet 6 inches. 



A Series of Renaissance Tapestries 

Representing Subjects from the Old Testament 



This superb series, designed in the Raphaelesque manner, as it has been conjectured, 
by Giulio Romano, was formerly in the possession of Prince Piombino, in Rome. 

All the panels are characterized by a fine freedom and boldness of design in the prin- 
cipal figures, and by extreme richness of elaborate detail in the accessory parts of the com- 
position. Throughout, the intricate color scheme is singularly choice and delicate, with a 
predominance of rose, amber, cream, and pale blue. The borders are noticeably handsome, 
being composed of passages of Renaissance ornament of flowers and figures, interspersed with 
exquisite little landscapes set in scroll frames. In each of the top corners is the figure of a 
woman extending her right hand, while below is a subject medallion of Susannah and the 
Elders in a garden laid out in Italian fashion, sometimes with a pergola in the distance. 
For, while the general character of the borders is maintained throughout the series, interest- 
ing diversities of detail are introduced. The ensemble is full of dignity, and overlaid with 
a charming bloom of subdued splendor. 

1325 — Visit of the Queen of Sheba to King Solomon. 

The queen kneels in the centre of the garden, with her hands crossed upon her breast, her 
train being held up by two kneeling waiting- maids, while three others stand behind them, one 
bearing a present. Solomon bends forward to raise the queen, at the same time offering her 
his sceptre. On the left and right of the middle distance are two compositions, representing, 
respectively, Solomon seated upon his throne, receiving his visitor, and the queen in her 
royal progress, attended by a retinue of courtiers and camels. In the centre of the back- 
ground is an open hall, in which a feast is proceeding, while on each side is a stretch of 
landscape, with a cavalcade, and group of figures welcoming its arrival. 

Height, 9 feet 2 inches ; length, 10 feet 6 inches. 

132G — " Saul slew his thousands, and David his ten thousands." 

The subject represents a triumphal procession of mounted warriors and footmen, at the head 
of which rides Saul, while David walks beside his charger, carrying the giant's head. In the 
background appear a hedge of spears and groups of soldiers in the woody landscape. On 
the right of the foreground, preceding the cavalcade, walks a maiden playing upon a harp. 

Height, 9 feet 2 inches ; length, 10 feet 4 inches. 

1327 — A Smaller Panel, continuing the subject of the previous composition. 

Two more maidens occupy the foreground, playing upon a viol or violin, while a child 
dances in front of them, shaking rings that are hung with bells. Hehind these figures, on the 
right, is a serried group of men with lighted tapers, and on the opposite side crowds of horse- 
men and citizens, standing in welcome before the open gate of the city. 

Height, 9 feet 2 inches; width, 6 feet n inches. 



1328 — Old Testament Subject — Narrow Upright Panel. 
Soldiers carrying a relic covered with a napkin. 

Height, 9 feet ; width, 3 feet 8 inches. 

1329 — David before Saul. 

The king is seated under a pavilion, on the right of the composition, attended by archers, 
and before him stands David the shepherd boy, crook in hand, offering his services to slay the 
giant. In the middle distance, to the left, and across the background, appear troops of foot 
soldiers and horsemen. The foreground is sprinkled with flowers, and smafJ trees dot the 
hillocks in the rear. 

Height, 9 feet ; width, 8 feet. 

1330 — David Playing before Saul. 

From his throne, raised on a high dais and backed by drapery, Saul is in the act of fling- 
ing a spear at David, who stands quietly playing upon his harp. An old man intervenes with 
upraised hands. A soldier stands beside the youth, and three maidens are grouped in the 
middle distance. In the background, separated by trees, are two small subject groups repre- 
senting the prowess of David. He is putting the Philistines to the rout in one, and in the 
other returning to the king with Goliath's sword in his hand. 

Height, 9 feet ; width, 8 feet 3 inches. 



1331 — Rare Clotli-of-gold Tapestry. Holy Family — French, Sixteenth 

Century. 

The Virgin is seated on a pavement of many colors, beneath a baldachino that is supported 
by four graceful columns wreathed with incrusted ornament. Suspended from the top, in front, 
is a lambrequin, decorated with cornucopias and fruit, while the back of the canopy terminates 
in an arch, through which appears a sloping hill, dotted with trees and houses. The land- 
scape is rendered in soft tones of blue, gray, and cream, the details being represented with 
surpassing delicacy. The Virgin is robed in deep blue, with a drapery of crimson falling 
from her waist. The Infant upon her lap leans forward to squeeze a bunch of grapes into 
a chalice held by a woman who kneels upon the left. The pendant figure on the right is 
that of a woman in blue raiment, who is drawing a sword from its scabbard. Behind the 
group stand five angels in garments of rose and pale plum color, and in the sky appear the 
figure of the Almighty, and the Third Person of the Trinity in the form of a dove. The 
panel is enclosed at the sides and base in a narrow bead border. A beautiful feeling of 
reverential tenderness pervades the skilfully drawn figures, and the color scheme is delicately 
resplendent. The specimen is unique and of surpassing interest. 

Height, 8 feet 2 inches ; width, 7 feet. 

1332 — Grand Gobelins Tapestry — Louis XV. Period. 

The episode depicted in this grand composition is taken from Tasso's " La Gerusalemme 
I.iberata," canto iii., stanza xxi. The beleaguered city appears in the background. Citizens 
and soldiers line the roofs and balconies of the houses, and are massed upon the top of a 
round donjon, while in the open space before the walls, upon the right, is a confused mass 
of spearmen, archers, and horsemen engaged in fight. In the foreground Clorinda the 
Amazon leader, accompanied by Argantes, gallops full tilt at Tancredi. She is caparisoned 
in armor over a blue skirt embellished with gold brocade, and a drapery of delicate rose 
floats from her shoulders. The fastenings of her helmet have given way, and her golden hair, 



streaming in the wind, proclaims her to the astonished gaze of Tancredi a beautiful girl. 
The knights wear crested helmets of Roman style, and tunics and mantles, the color of the 
one on the right being blue, while that of his antagonist is red. 

The scene is rendered with magnificent animation, the movement of horses and riders 
being full of truth and spirit, and the color scheme at once splendid and refined. The com- 
position is enclosed in a border of corresponding grandeur. On each side is a console sup- 
porting the torso, in one case, of a nude man ; in the other, of a draped woman ; each bearing 
upon the head a globe surmounted by two crowned eagles. Along the lower edge is a series 
of cornucopias, separated by shells, in the middle one of which is a human face. The top 
border consists of festoons of flowers, with a cartouche in the centre, carrying the following 
inscription : 

" E le chiome derate al 
Vento sparse 
Giovane donna in mezzo di 
Campo apparse." 

The panel is a museum piece of extraordinary interest. 

From the Gobelins' Manufactory, dated 1735, and signed by Nouzon. Purchased from the collection of 
the Duke of Hamilton. 

Height, 11 feet S inches ; length, 30 feet 6 inches. 



Set of Four In do- Portuguese Embroidered Tapestries , 

Sixteenth Century 

Illustrating Events Connected with the Siege of Troy 



1333 — The Sacrifice of Iphigenia. 

On the left of the composition is a large chest, or sarcophagus, before which kneels Iphi- 
genia, while a man bends over her with uplifted sword. Soldiers are massed on the right and 
left, and in the background appear the Grecian ships, waiting for a breeze. 

Height, 12 feet ; length, 16 feet 8 inches. 

1334 — Achilles before the Arms of Patroclus. 

A soldier, in advance of a group of warriors, on the left of the composition, indicates with 
his hand the heap of armor and trappings which lie in the centre. To the right of it, at- 
tended by two followers, stands Achilles, with his hands raised in a gesture of honor. A 
row of tents stretches across the background. 

Height, 12 feet ; length, 16 feet 8 inches. 

1335— The Carrying off of Helen. 

On the right of the composition a ship filled with warriors has come close up to the shore, 
where another party surrounds the central figure of Helen. Her gaze and hands are extended 
toward heaven, as a man with his arm around her waist is lifting her to the boat, directed 
in his efforts by a man in the foreground. Behind the group rise the houses of the city, from 
the roofs of which archers are firing. 

Height, 12 feet ; length, 16 feet. 



1336 — ^7 Sacrifice. 

In attitudes of entreaty warriors are kneeling or standing around a circular altar, which 
occupies the centre of the composition. A ram's head appears amid the flames, the smoke 
of which curls up to the sky. Across the back of the scene extends the sea, ships riding at 
anchor on the right. 

Height, 12 feet ; length, 16 feet 8 inches. 

The flesh parts throughout all the series would appear to have been painted by 
Portuguese artists, while the Oriental character of the weapons, costumes, and deco- 
ration suggests that the embroideries were executetl in the East. The color scheme 
carried through the four panels is singularly choice, involving a groundwork of deep 
azure blue, with hues of old rose, pale blue, and dull amber predominating in the 
accessories. The same combination is introduced into the handsome borders, 
where, enclosed within a series of narrow borders, flows a scroll of acanthus with 
floral centres, interrupted at intervals by gryphons, or birds of paradise. At each 
corner is a coat of arms, red and white horizontal bars upon a shield, surmounted by 
a lion rampant ; while in the centre of each side is a medallion containing a human 
figure with the extremities of a serpent, holding a snake by the neck. 



2337 — Flemish Tapestry. Noonday Meal — Seventeenth Century. 

Subject after Teniers. In the foreground are three peasants costumed in red, blue, brown, 
and yellow. To the right and left are trees in luxuriant foliage, and in the middle distance 
is a river, beyond which is a village, and in the background a range of snow-clad mountains. 

Height, 8 feet g inches ; width, 8 feet. 



1338 — Flemish Tapestry Verdure Panel — Seventeenth Century. 

A composition of verdure in greens and blue. In the middle foreground is a wolf carry- 
ing off SLlamb, framed in a border of flowers and fruit, with corner ornaments of cranes, all 
in harmonious colors. 

Length, 9 feet 4 inches ; width, 4 feet b inches. 



Antique and Modern 
Furniture 



The Alma- Tadema Piano, Lion and Tiger Skin 
Rugs, Bronzes, Curtains, and Miscellaneous 

Objects 

1339 — Antique Work-box. 

Adams. Mahogany inlaid with various woods. Painted ornamentation of female in 
chariot, cupids, and other designs. 

1340 — Antique Chippendale Table. 

Satimvood. Oval shaped, with slender legs, and shelf at base. Inlaid with various 
woods, and has painted decoration. 

1341 — Antique Oval Table. 

Mahogany. Similar in design to the preceding. 

1342 — Chippendale Escritoire. 

Satinwood. Adams painted decoration of flowers and figures en camaieux, having an 
arched recess with mirror, two enclosures, and several small drawers. 

1343 — Chippendale Escritoire. 
Satinwood. To match the preceding. 

1344 — Chippendale Centre Table. 

Mahogany. Round shaped, on slender, fluted legs. Inlaid with various woods, and 
ornamented with painted ribbon and floral festoons in Adams style. 



1 346 — Adams Gem Cabinet. 

Satinwood. Painted decoration of flowers. Plush lined. 



1346 — Gueridon and Card Tray. 

Bronze, with Chinese porcelain, a fami!U-rose basin and baluster-shape vase, and an 
octagonal bottle of familU verlc. 



1347 — Antique Ivory Cabinet. 

Engraved in niello, with figures and grotesques. Decorated within with plaques in silver 
gilt, with figures in relief of Ceres, Bacchus, and Venus, elaborately framed in carved steel; 
with modern table in ebony and carved boxwood, in classic style. 



1348 — Oriental Taboret. 

Octagonal. Rosewood. Inlaid with mother-of-pearl. 

1349 — Oriental Taboret. 

Octagonal. Completely covered with mother-of-pearl. 

1350 — Two High-backed Chairs. 

Italian. Inlaid with metal, ivory, and tinted woods. 



1351 - — Two Large Antique Armchairs. 

Oak. Elaborately carved. 



] 352 — Antique Etagere. 

French. Sixteenth century. Artistically carved relief figures, foliated scrolls, and other 
designs, with slight gilding. ' 

Height, 8 feet ; width, 4 feet. 

1353— Old Moorish Cabinet. 

Walnut. Elaborately inlaid with mother-of-pearl and tortoise shell. 

Height, 3 feet ; length, 3 feet 6 inches. 

1354- — Old Italian Cassone. 

Carved and gilt wood, in sarcophagus form, with a frieze of cupids with a shield armorial 
in high relief ; winged figures at the comers, and a base of masks and festoons. 

Height, a feet 1 inch ; length, 5 feet 8 inches. 



1355 — Old Italian Cassone. 

Decorated in gesso and stamped, gilt, and painted leather. Paintings of centaurs a 
shield armorial, and the lion of St. Mark's. 

Height, 3 feet 7 inches ; length, 6 feet 8 inches, 

1356 — Elaborately Painted Old Italian Cassone, or Wedding Chest. 

Carved and gilt wood, with a picture in colors and gilding, of a tournament outside a walled 
city ; a harbor and ships in the distance. 

Height, 3 feet 8 inches ; length, 8 feet. 

1357— Elaborately Carved Old English Hall Table. 

On a heavy carved base, supporting an arcade with twisted columns, except those at the 
corners, which are in shape of urns surmounted by masks of giants. The top has a broad 
border, with carving of fleurons and animals in circles. 

Height, 3 feet 6 inches ; length, 7 feet ; width, 3 feet 6 inches. 

1358 — Two Large Old English Hall Armchairs. 

With backs carved in high relief, top ornaments of cherubs and coat of arms, the arms 
terminating in animal heads. Seats upholstered in velvet and cloth-of-gold brocade. 

1359 — Two Old English High-backed Hall Chairs. 

Elaborately carved. Seats upholstered in velvet and cloth-of-gold brocade. 

13G0 — Four Old English High-backed Chairs. 
Carved in high relief. 

13G1 — Carved Oak Hall Seat. 

In form of three antique choir stalls, time of Louis XV. 

Height, 4 feet ; length, 7 feet 7 inches. 

1362 — 0/*/ Venetian Stamped Leather — Fifteenth Century. 

From Pieve di Cadore. The design is floral scrolls in red, silver, and blue on a gold ground. 

1363— Grand Piano. 

DESIGNED BY SIR ALMA-TADEMA, R.A., WITH PAINTED PANEL BY SIR 
EDWARD J. POYNTER, P.R.A. 

In many respects this piano presents one of the most extraordinary examples of artistic 
craftsmanship that have been produced in modem times. It recalls the splendid invention, 
the graceful, luxurious imaginativeness that distinguished the work of the Graeco-Roman artists 
who ministered to the fastidious taste of the most cultivated citizens of Pompeii. Sir Alma- 
Tadema, everywhere acknowledged among moderns as the artist par excellence who can re- 
incarnate the genius as well as the externals of the later classic period, given carte blanche has 
accomplished in this object a result that is as remarkable for the exquisite refinement of its 
ensemble as for the elaborate inventiveness of its detail. 



The framework of the piano is of ebony, with inlays of red cedar, the latter serving as 
a field for decoration in ivory, mother-of-pearl, and shells. The cover is embellished with 
the names of the nine Muses, each enclosed within a wreath, while that of Apollo is given 
distinction by additional elaboration of the wTeath and ribbons. The body of the piano is 
decorated at the back and at the ends on each side of the keyboard with scrolls. These are 
a free adaptation of the acanthus motive, executed in boxwood and ivory, in bold relief, and 
with exquisite variety of raised and channelled surface, terminating in a tendril of ivory. 
In the centre of each side is a small design of a myrtle wreath, wrought in ivory, with 
berries of coral and shell, enclosing a tripod altar, above which is a spray of laurel, executed 
in pieces of semi-precious stones. It is a little gem of craftsmanship in the exquisite art of 
pietra dura. 

The front legs, viewed in profile, are broad and massive, exhibiting a winged lion beauti- 
fully carved, with bold scrolls of ivory filling in the spaces. The rear support is a pedestal 
with stylobate and base, and a square die, upon which is an incrusted decoration of a myr- 
tle branch, carved in ivory, with berries of red coral. 

Above the keylward is a rectangular panel, painted by Sir Edward Poynter, "The Wan- 
dering Minstrels." It represents a scene upon the margin of the sea, with a group of six 
girls dancing in a ring in the centre. To the right and left are vine-covered pergolas, in 
one of which are three musicians, and in the other a lady and gentleman seated on a bench, 
with another figure standing behind, resting his head upon his hand. The figures are drawn 
with the delicacy of feeling and grace of gesture that distinguish the painter's work, and the 
coloring is brilliant, and at the same time pure and transparent. In two small panels, one at 
each end of the lid, is a trophy of musical instruments, executed by the famous artist. 

The case of the piano was made by Johnson & Norman, London, the instrument being 
the work of Steinway & Sons. 

Sir Edward J. Poynter, President of the Royal Academy, in a letter to Mr. Marquand, 
thus alludes to the instrument : 

"I have no hesitation in saying that it is the most beautiful piece of work, both 
for the design and the workmanship, that I ever saw. In fact, I do not believe that 
anything has ever been done equal to it," 



1364— Suite of Furniture. 

DESIGNED BY SIR ALMA-TADEMA, R.A. 

This superb suite, designed, in accompaniment with the grand piano, to furnish the music- 
room, is of the Gneco-Roman style, as manifested in the chasteness of design and luxuriance 
of decoration of the best Pompeiian manner. It is one that the artist has made uniquely his 
own contriving to recover not only the form, but the spirit, of the antique beauty. In every case 
the form is of marked simplicity, and of a reasonableness that fits the purpose of the object ; 
and the decoration is distinguished by luxuriance of invention rather than of amount, and by 
an invention that embraces the most subtle delicacy as well as a virile lx>ldness in the salient 
rts { the structural design. Thus the main contours are firmly emphasized by broad inlays 
of ivory, while projecting portions, most liable to injury, are carved from the solid ebony in 
massive richness. Not less remarkable than the logic and beauty of the design is the skill 
with which the work has been executed. The artist has been able to infuse the craftsmen 
with the spirit of his purpose, and the result is that quality, very rare in modern craftsman- 
ship, of vital, personal feeling. It would be hard to praise too highly this consummate union 



of handiwork and imagination. The objects are upholstered in silk of an ashen olive hue. 
embroidered with panels, either of floral scrolls or of the Greek wave design, contained 
within narrow borders of repeated circles. 



A — Two Armchairs. 

Their framework is of ebony, the front legs being carved in a bold design, commencing 
with the head and neck of a swan, and terminating in lion's claws. In the place of back lcs 
is a broad support, inlaid with a panel of red cedar, on which is a relief ornament of the honey- 
suckle design. The back is of similar wood, bearing an incrusted decoration of scrollwork, 
corresponding in character to that of the piano, but exceeding it in the elaboration of the 
inlays of mother-of-pearl and shells. 



B — Two Long Settees. 

They are oblong in plan, with straight backs, the elaborateness of decoration being reserved 
for the ends. These continue for a short distance the horizontal line of the back and then 
descend in a bold curve till they reach the level of the seat, where another horizontal line 
connects with the massive modelling of the front legs. The profile of the back is vertical ter- 
minating in claw legs. The contour of ebony is accentuated by broad insets of raised ivory, 
and the panels of cedar are decorated with delicate inlays of Greek fret and other designs. 



C — Occasional Chairs. 

The slender legs are constructed, like the frame, of ebony, interrupted at three points by 
rings of solid ivory, while a thread pattern of the same material is inserted on the small rec- 
tangular facings near the top. The backs are of red cedar with rectangular bands of inlay, 
enclosing an ivory laurel wreath, within which is the monogram, " H. G. M." 



D — Two Smaller Settees. 

These have curved backs, terminating at the ends in slender columns. Below the latter 
the design projects in curves to the level of the seat, the ebony frame enclosing a ground of 
cedar, on which is an incrusted scroll, surmounting a band of fret. The front legs are of 
ebony, carved with a swan's head and neck, and terminating in a claw. 



E — Two Ottomans. 

These are almost square in plan. Their slender legs of ebony, ringed and fluted with 
ivory, support four oblong panels of cedar, on two of which is an elaborate design of birds 
and scrolls, executed in ebony, ivory, and chestnut. 



F — Two Circular Top Tables. 

The circular top, consisting of a single slab of onyx, rests on a tripod of black ebony, 
the three legs being united by two series of horizontal ties. The upper ones are narrow 
and inlaid with an ivory thread design of repeated arches, while the lower are more sub- 
stantial, and decorated with an interlace. 



1365 — Two Piano Stools. 

The cushions, almost square, rest upon a slab of ivory, which, by disks of the same material, 
is separated at each corner from the wooden frame. The latter is panelled with cedar, deco- 
rated with scrolls of ivory, ebony, and shells, and having on two sides a round ivory handle 
enclosing a little medallion of carved cedar. The four legs are of baluster form, in ebony, 
with delicate inlays of mother-of-pearl and ivory, and the latter material, boldly carved, has 
been used for the feet. 

13G6 — Elaborate Music Cabinet. 

Designed to match the Alma-Tadema suite of furniture. Has curtains of green silk rep, 
embellished with embroidered classic designs. 

Height, 6 feet 6 inches ; length. 7 feet 9 inches. 

1367 — Corner Cabinet. 

Of classic design in ebony and inlaid woods, with ornamentation in carved ivory. To 
match the Alma-Tadema suite of furniture above described. 

Height, 6 feet 10 inches ; width, a feet 3 inches. 

1368 — Comer Cabinet. 

Of classic design. Similar to the preceding. 

Height, 6 feet 6 inches ; width, 2 feet. 

1369 — Pair Door Curtains. 

Designed by Sir Alma-Tadema. The material is sage-gTeen silk rep, with embellishment 
of classic patterns in needlework. 

Each strip: Length, 7 feet 7 inches; width, 3 feet 11 inches. 

1370 — Pair Door Curtains. 

Designed by Sir Alma-Tadema. To match the preceding. 

1371 - — Pair Door Curtains. 

Designed by Sir Alma-Tadema. To match the preceding. 

Each strip: Length, g feet 6 inches ; width, 3 feet 6 inches. 

1372— Window Curtains. 

For two windows. Designed by Sir Alma-Tadema, and to match the preceding. 

Each strip: Length, 9 feet 6 inches ; width, 3 feet 6 inches. 

1373 — Lace Window Curtains. 

For two windows. Designed by Sir Alma-Tadema. Masks and palmettes and other classic 
patterns in applique and openwork. 

Each strip: Length, 9 feet 5 inches; width, 2 feet 7 inches. 

1374 — Pair Tall Standing Lamps. 

Antique design, in bronze, with opalescent glass -hade. Arranged for gas. 

Height, 77 Inches. 



1375 — Elaborate Ornamental Bronze Fender. 

Especially designed by Sir Alma-Tadema, and modelled by E. Onslow Ford, A.R.A. 
Masks of Comedy and Tragedy at the corners, supported by genii with lyre and cymbals. 
Richly foliated scrolls, with flowers and tendrils in wrought metal, terminating behind a large 
shell in the centre. 

Length, 58 inches. 

1376 — Pair Bronze Andirons. 

By E. Onslow Ford, A.R.A. Terminal figures in archaistic Greek style, reproduced from 
antiques in the British Museum, known as the "Merry and Sad Flutes." 

Height, 30 inches. 

1377 — African Lion Skin. 

Mounted as a rug. 

Length, 10 feet 4 inches. 

1378 — Royal Bengal Tiger Skin 

Mounted as a rug. 

Length, 11 feet 7 inches. 

1379 — Royal Bengal Tiger Skin, 
Mounted as a rug. 

Length, 9 feet 7 inches. 

1380 — Portiere. 

Japanese silk brocade. Brown ground, with geometrical and floral patterns in Io» tones 
of gTay, old gold, and sage green. Trimmed with fringe and lined with silk. 

Height, 8 feet ; width, 3 feet 10 inches. 

1381 — Portiere. 

Japanese silk brocade. Old golden brown, with medallions and crest designs in dark 
blue and old gold. Trimmed with heavy fringe. 

Height, 8 feet ; width, 3 feet 10 inches. 

1382 — Sofa and Pillows. 

Upholstered in Turkish needlework, with heavy silk fringe. 



1383 — Low Cushioned Chair. 
Upholstered in Turkish needlework. 



1384 — Oblong Satinwood Table. 

Oriental design. Inlaid with brass, mother-of-pearl, and various woods. 



1385 — Satinwood Reception Chair. 
Oriental design. To match the preceding. 



1386 — Adams Drop-leaf Table. 

Mahogany. Painted decoration of fruits in large oval panel on the top, with borders of 
floral and ribbon festoons. 



1387 — Mantle Clock — Louis XVI. 

Gray marble base. Mountings and ornaments in chiselled ormolu. Wreath of oak leaves 
and mask surround the dial, which is decorated with floral festoons. 



1388 — Boudoir Clock. 

Dresden porcelain case, with group of Arts and Science. Movement by Worms, of Paris. 

1389 — Pair Dresden Candelabra. 

Figure supports and raised flowers. « 

1390 — Pair Old Hochst Vases. 

Cylindrical shaped, with conical base. Decorated with medallion portrait of Louis 
Philippe and Consort, and festoons modelled in relief. 

1391 — Pair Um-shaped Andirons. 

In antique brass. 

1392 — Bronze Fender. 

Figures of two children, wrought in relief. 

1393 — Pair Royal Brass Andirons — Charles I. Period. 

Urn shape, with masks at base and female figures at sides. Wrought in openwork and 
chiselled. 

Height, 30 inches. 



1394 — Antique Fire Set. 
In wrought brass. 



1395 — Pair Fire Dogs. 

In chiselled brass. Said to have belonged to Queen Elizabeth. Have the initials "E. R." 
and crown on the base. 

Height, 36 inches. 

1396 — Pair Elaborate Bronze Andirons. 

Representing fawns seated, and bearing on their heads vases with serpent handles, from 
which arise flames. The elaborately wrought bases are decorated with lions' heads, scrolls, 
and foliage. 

Height, inches. 

1397 — Grand Wrought-steel Fire Set. 

Consisting of fire dogs, brazier, cranes, chains, fender, elaborate wood basket, and set of 
fire tools. 

Length of fender, 59 inches. 

1398— Wrought-steel Fire Set. 

Consisting of fire dogs and fender, ornamented with open spirals, foliage, and rosettes, 

and set of fire tools. 

Length of fender, 68 inches. 

1399 — Gem Cabinet. 

In carved oak. Plush lined. Open shelf at bottom. 

1400 — Carved Oak Cabinet. 

Low oblong shaped. Glass doors, sides, and top. Lined with plush. 

Height, 3 feet ; length, 4 feet ; depth, 3 feet. 

1401 — Carved Oak Cabinet. 

To match the preceding. 

1402 — Corner Cabinet. 

Carved oak. With bent glass door. 

Height, 4 feet ; width, a feet 6 inches. 

1403 — Corner Cabinet. 

To match the preceding. 

1404 — Standing Cabinet for Lacquers. 
Mahogany. Carved in Japanese style. 

Height, 3 feet 6 inches ; length, 4 feet ; width, 1 foot 9 Inches. 



1405 — Elaborate Standing Screen. 
In carved quartered oak. 



Engravings 

In Mezzotinto, Stipple and Line, and Etchings 



NOTE 



In the field of Engraving and Etching Mr. Marquand's preference — so far as it can 
be read in the specimens selected by him — was for prints possessing marked pictorial and 
zsthetic beauty rather than technical excellence only. Naturally the magnificent mezzo- 
tints by the great English engravers — Dean, Dickinson, Green, MacArdell, James and 
Thomas Watson, and others — after paintings by Sir Joshua Reynolds, attracted his atten- 
tion and, characteristically, the examples he acquired were of great beauty and of unusually 
fine quality. 

His interest in the movement which, originating with Mason, Walker, and Pinwell, 
might have been, but for the untimely death of these artists, of hardly less influence on art 
in England than was the pre-Raphaclite movement of a generation earlier, is sufficiently 
attested by the inclusion in his collection of several of the masterly etched transcriptions 
by Macbeth, of important works by Walker and Mason. . . . Nor were the " Old 
Masters" forgotten; as the etchings after masterpieces by Velasquez, Rembrandt, and 
Van Dyck prove; while among painter-etchers Rembrandt, Whistler, Tissot, and Zorn 
were represented by a few fine examples. 



LIST OF ENGRAVERS AND ETCHERS 



MEZZOTINTO ENGRAVERS 



NUMBER. 

APPLETON, THOMAS G. 1407, 1408 
COUSINS, SAMUEL 1409, 1410 

DEAN, JOHN 1411 
DICKINSON, WILLIAM 1412-1417 
DIXON, JOHN 1418 
GREEN, VALENTINE 1419-1420 
HODGES, CHARLES HOWARD 1421 
MacARDELL, JAMES 1422-1425 



NUMBER. 

REYNOLDS, SAMUEL WILLIAM 1426 



SHORT, FRANK 1427 

SMITH, JOHN RAPHAEL 1428-1430 

TURNER, CHARLES 1431 

WARD, JAMES 1432 

WATSON, JAMES 1433-1437 

WATSON, THOMAS 1438 



ENGRAVERS 

BARTOLOZZI, FRANCESCO 1439, 1440 
BURKE, THOMAS 1442 
EARLOM, RICHARD 1441 



IN STIPPLE 

TOMKINS, PELTRO WILLIAM 1443 
WATSON, CAROLINE 1444 



LINE ENGRAVERS 



ANNEDOUCHE, ALFRED 1445 
BURGER, JOHANNES 144C 



FOLO, PIETRO 
LEVY, GUSTAVE 



1447 
1448 



ETCHERS 



ARAUJO, JOAQUIN 1449 
HADEN, SIR F. SEYMOUR 1450, 1451 
HERKOMER, HUBERT 1451a 
HOLE, WILLIAM 1451b 
JASINSKI, FELIX 1452-1455 
KRATKE, LOUIS 145G 
LAGUILLERMIE, FREDERIC- 

AUGUSTE 1457 
LEFORT, HENRI 1458, 1459 

LHUILLIER,VICTOR-GUSTAVE 14C0 
MACBETH, ROBERT W. 1401-1471 



RAEBURN, H. MACBETH 1472 

RAJON, PAUL 1473-1478 

REMBRANDT, VAN RYN 1479-1489 

ROSENTHAL, ALBERT 1490,1491 

SHORT, FRANK 1492 
SLOCOMBE, C. P. 1493, 1493a 

SMILLIE, JAMES D. 1494 

TISSOT, JAMES J. 1495, 1496 

WALTNER, CHARLES 1497-1499 
WHISTLER, JAMES A. McN. 1500, 1501 

ZORN, ANDERS L. 1502 



SECOND EVENING'S SALE 
Wednesday, January 28th, 1903 



BEGINNING PROMPTLY AT 8 O'CLOCK 



Mezzotinto Engravings 




APPLETON, THOMAS G, 



1407 — Elizabeth, Countess of Mexborough. 3(fi " 



After the painting by John Hoppner. Signed artist's proof. Gold frame. 



Daughter of John Stephenson, Esq., of East Burnham, Co. Bucks ; married, 
1782, John, 2nd Earl of Mexborough ; died, June 7, 1821, in Piccadilly, after a few 
hours' illness. 



" After the painting by George Romney. Signed artist's proof. Gold frame. 



After the painting by Sir Joshua Reynolds. Proof, with the title in scratched letters, 
on India paper. Scratched on plate in lower right-hand corner, "First 100." 
Bird's-eye maple and gold frame. 

"On the beautiful monument by Banks, in Ashbourne Church, at sight of which 
Queen Charlotte burst into tears, is inscribed : 

•"To Penelope, only child of Sir Brooke and Dame Susannah Boothby ; born, 
April 11, 1785 ; died, March 13, 1791. She was in form and intellect most exquisite. 
The unfortunate parents ventured their all on this frail bark, and the wreck was 
total." — Chaloner Smith, page 957. 



1408 — Countess of Mansfield. 





1410 — Moretta: A Venetian Girl. 

^~Wter the painting by Sir Frederick Leighton, P.R.A. Proof signed by painter and 
engraver. Black and gold frame. The number of signed artist's proofs was 
limited to 375. 



DEAN, JOHN 

Born about 1750. Is said to have been a pupil of Valentine Green, and to have died 
in London in 1798. 

"The character of his work is delicacy of execution, carried to such an extent 
that, to a superficial observer, his prints seem faint. They are, however, most clear 
and artistic. ' — Chaioner Smith, page 159. 



1411 — Mary, Lady Cadogan. / ^ ^ 

, After the painting by Sir Joshua Reynolds. C. S. No. 3, page 160. 
„ ' Second state, with the inscription. 

w Margins are: at top, 1^; at bottom, 1^; at sides, i^g inches. Very fine 
impression, in perfect condition. Gold frame. 

Eldest daughter of Charles Churchill, Esq., by Mary, daughter of Sir Robert 
Walpole; married, August 10, 1777, Charles Sloane, 3rd Baron Cadogan, which 
marriage was dissolved by Act of Parliament, April, 1797. 



DICKINSON, WILLIAM 

Born in London in 1746. In 1773 he commenced to publish his own works from 
Litchfield Street, Soho, afterwards 180 Strand, and between 1774 and 1778 
from Henrietta Street, Covent Garden, many of his productions then being 
among the most brilliant specimens of the art — powerful, full of color, 
excellent in drawing, and rendering of the touches of the painters, among whom 
were Reynolds, Romney, and Peters. Died at Paris in the summer of 1823. 

1412 — Diana, Lady Crosbie. ^ 3 & U J— tfo*L 

After the painting by Sir Joshua Reynolds. C. S. No. 14, page 176. 



) 



Second state, with the inscription. 

argins arc : at top, bottom, and sides, yi inch outside plate mark. Good impres- 
sion, in excellent condition. Gold frame. 

Daughter of Lord George Sackville ; born, 1756 ; married, 1777, Viscount 
Crosbie, who succeeded in 1781 to Earldom of Glandore ; died at Ardfert Abbey, 
August 29, 1814. Her daughter married Mr. Herbert, of Mucross. 



1413 — Emilia, Duchess of Leinster. f*w* *q 

-~*"Xfter the painting by Sir Joshua Reynolds. C. S. No. 43, page 186. / v 

First state, before the name of the personage and before the lower margin was 
perfectly cleaned. 

Margins are: at top and sides, iS/j at bottom, 4 inches. From the collection of 
the Duke of Buccleuch. Brilliant impression, in excellent condition. Gold 
frame. 

Only daughter of Ussher, Lord St. George ; married, 1775. William, 2nd Duke of 
Leinster ; died, June 23, 1798. 

1414 — Richard Oliver. 2« 
After the painting by Robert Pine. G: S. No. 55, page 190. 

Second state, with the inscription. 

Margins are: at top, ^ inch; at bottom, 1% inches; at sides, ^ inch. Good 
impression, in good condition. Oak frame. 

Elected member of Parliament in 1770- 1" t he following year was for a short 
time imprisoned in the Tower. In his contest with the Parliament, a transaction 
which Walpole says "began unadvisedly and ended piteously," the Court of 
Exchequer deciding that the imprisonment was not illegal, Mr. Oliver refused to 
take advantage of some blunders in the returns, and declined to be released, except 
on general and public grounds. He died on board the Sandwich packet, in his pas- 
sage from Nevis, April 16, 1784. «•— t < , 

1415 — Lady Charles Spencer. s?*/ je . fJ 

' After the painting by Sir Joshua Reynolds. C. S. No. 77, page 198. 
Second state, with the inscription. 

Margins are: at top, 1 % ; at bottom, 2; at sides, 1% inches. Brilliant, rich, and 
velvety impression, in perfect condition. Gold frame. 

Maria, daughter of Lord Vere, of Hanworth ; born, 1743 ; married, October 
2, 1762, Lord Charles Spencer, 2nd son of Charles, 2nd Duke of Marlborough ; died, 
January 13, 1813. 

1416 — Richard, Earl Temple. 7 ^u^v '/'/~ // 
" After the painting by Sir Joshua Reynolds. C. S. No. 82, page^gg- 

First state, before the inscription. Names of painter and engraver, and publication 
line in scratched letters. _ 
Margins are: at top, bottom, and sides, % inch. Brilliant impression, in excellent 
condition. Oak frame. 

Born 171 1 ■ succeeded his mother, Countess Temple. 1752 ; K. G., privy coun- 
cillor: died, September II, 1779. and was succeeded by his nephew, whose son was 
created Duke of Buckingham and Chandos. 



1417 — Richard, Earl Temple. 

After the painting by Sir Joshua Reynolds. C. S. No. 82. 

First state. , .„, 

Margins are: at top and sides, 3^ ; at bottom, % inch. Brilliant impression, m 
excellent condition. Oak frame. 



DIXON, JOHN 



Born in Ireland about 1740. Removed to London about 1765, and soon distin- 
guished himself by his Portrait of Garrick, after Dance, and other works. 
He married a young lady of fortune, and thenceforward followed his profession 
as an amusement only, residing at Ranelagh, afterwards at Kensington, where 
f\ * he died about 1780. 

"His works are powerful, well drawn, and rich in tone."— Chaloner Smith, 
page 203. 

1418 — William, Duke of Leinster. 

, »■ . ■■* " 

After the painting by Sir Joshua Reynolds. C. S. No. 22, page 212. 

Very tarly state, undescribed by Chaloner Smith. The name of the engraver is absent. 

The words, "Painted by Sr. Josa Reyn "and the publication line 
alone are visible, and the bottom of the plate is not yet cleaned. 

Margins are : at top, 1 ; at sides, y x inch ; at bottom, 1 inches. From the collec- 
tion of the Duke of Buccleuch. Very brilliant and rich impression, in perfect 
condition. 

Born. March 13, 1749; succeeded his father as and Duke of Leinster. 1773; 
married, 1775, Emilia Olivia, daughter of Lord St. George ; died at Carton, County 
Kildare, October 20, 1804. 



GREEN, VALENTINE 

Born near Birmingham in 1739. Removed to London from Worcester in 1765. 
Was a member of the Incorporated Society of Artists in 1767. Was appointed 
associate engraver to the Royal Academy and mezzotinto engraver to His Majesty 
m 1 7 75> distinctions well merited by his artistic talents and unwearied diligence. 
In 1789 he obtained from Charles Theodore, Elector of Bavaria (to whom, 
when Elector Palatine, he had been appointed engraver), the exclusive privilege 
of engraving the pictures of the Dusseldorf Gallery. On the foundation of the 
British Institution, in 1805, he accepted the office of Keeper, and retained it to 
his death, which took place at St. Alban's Street, London, June 29, 18 13. 

His portraits exhibit great mastery of his art, joined to delicate and effective 
manipulation. They also exhibit the leading characteristic of the painters of his 
day ; this was to make their portraits pictures, ftr works of art, apart from the repre- 
sentation of the personage. V 

1419 — Louisa, Countess of Aylesford. << '1+0 — 

After the painting by Sir Joshua Reynolds. C. S. No. 4, page 534. 
Second state, with the inscription. 

Margins are : at top, I j£ ; at sides and bottom, 1 y t inches. Very fine impression, in 
perfect condition. Gold frame. 

Born, 1760 ; eldest daughter of Thomas. 3rd Viscount Weymouth, who was 
created Marquess of Bath in 1789; married, November 18, 1781, Heneagc, 4th Earl 
of Aylesford, who died in 1S12. She died December 20, 1832. 



1420 — Lady Elizabeth Delme and Children. 

fee— 7 I 1* 

After the painting by Sir Joshua Reynolds. C. S. No. 35, page 548. 
Second state, with the name of V. Green as publisher, and with the date of publica- 
tion, July 1, 1779. ~~J~.+*i*^ ^ >tr/'*/_ 

Trimmed to plate mark at top, sides, and bottom. Fine impression, 7 with the scratched 
letters of the first state plainly visible. Small piece, i/,6 inch wide and inch 
long, torn from upper right-hand corner; two pieces, measuring about x 
inch each, from lower corners to right and left ; otherwise in excellent 
condition. Gold frame. (Blythe sale, 920 guineas.) 

Born, 1747, daughter of Henry, 4th Earl of Carlisle; married, 1st, in 1769, 
Peter Deling, Esq. (M.P. for Morpeth, who died August 15, 1789) ; 2nd, in 1794, Can- 
tain Charles Garnier, R.N. (who was drowned December 16, 1796). She died in 
Grosvenor Place, June, 1813. The children are believed to be John Deling, Esq., of 
Cams Hall, Fareham, Hants, who died June io, 1809, aged 36 ; and Miss Delmg, 
who died February 27, 1794. 



HODGES, CHARLES HOWARD 

Born about 1775. About 1794 he left England and went to Holland, where he 
resided until his death, practising as a portrait painter, but continuing for some 
years to produce mezzotinto portraits. He died at Amsterdam in 1837. 

As his earlier prints were published by John Raphael Smith, it may be pre- 
sumed that he was a pupil of that artist ; and his fine painter-like style would lead 
to the same conclusion. 

1421 — Mrs. Williams Hope. 3$~0 - 

*"~""A"fter the painting by Sir Joshua Reynolds. C. S. No. 18, page 632. 

Proof before all letters. Earlier than the first state described by Chaloner Smith. 
Margins arc: at top and bottom, inch; at sides, iy& inches. From the collection 

of the Duke of Bucclcuch. Magnificent impression, in perfect condition. 

Gold frame. (Edgcumbc sale, £?<)•) 

Eldest daughter of John Goddard, Esq., of Woodford Hall, Essex, and niece of 
Henry Hope ; married John, son of the Rev. Mr. Williams of Cornwall, who there- 
upon added Hope to his surname, ultimately obtaining the king's license to use the 
name " Hope" only, and who died in Harley Street, February 12, 1813. 



Mi 



i 



MacARDELL, JAMES 

Born in Cow-lane (afterwards altered to Greek Street), in Dublin, about 1729. He 
was a pupil of John Brooks, and came with him to London about 1747. He 
soon afterwards commenced to practise on his own account, and about 1754 
established himself at the Golden Head, Covent Garden, where he published 
most of his prints. He died June 2, 1765. 

He may be said to have carried on the art from the point to which it had been 
brought by Faber, by adopting boldness, decision, and freedom of handling without 
losing either accuracy or truth. His talents were duly appreciated by the great 
painters of his time, especially by Reynolds, who considered, as Northcote tells us, 
that his own fame would be preserved by MacArdell's engravings, when the pictures 
had faded away. 



1422 — George, Duke of Buckingham, and His Brother Francis. 

After the painting by Van Dyck. C. S. No. 33, page 847. /£ *"" 
* Third state. 

Margins are: at top, ]/ z ; at bottom, ^ inch; at sides, 1 y z inches. Very fine, rich im- 
pression, in perfect condition. Oak frame. 

Sons of George Villiers, Duke or Buckingham, who was assassinated by Felton 
En 1628. George fought through the Civil War, married Mary, daughter of Thomas 
Lord Fairfax, rose to great favor with Charles II., and after the Restoration became 
prominent as wit, courtier, statesman, and rake. He died in 1687. Lord Francis 
Villiers was born after his father's murder. He was a youth of high promise. Was 
slain in a skirmish with the Parliamentary Forces in 1648. 

^ 1423 — Robert Monckton, Governor of New York. o% > 49. 

After the painting by Thomas Hudson. C. S. No. 130, page 882. 
Second state. 

Margins trimmed to plate mark at top, bottom, and sides. Fine impression, in excel- 
lent condition. Unframed. 

Second son of 1st Viscount Galway, entered the army, and, after having had a 
considerable amount of service, was appointed Governor of Nova Scotia in 1775, and. 
obtained many successes against the French and their Indian allies ; was second in 
command to Wolfe at Quebec, where he was wounded ; with Rodney took Marti- 
nique ; Governor of New York and Major-General, 1761 ; Governor and M P for 
Portsmouth. He died May 21, 1782. 

/ 1424— Lady Caroline Russell, ^vs'o- ^$**X>&*^' 

After the painting by Sir Joshua Reynolds. C. S. No. 160, page 893. 
First state. Before any inscription, and before margin was thoroughly cleaned. 
Margins are: at top and bottom, 1 5 at sides, ^ inch. Very brilliant impression, in 
perfect condition. Gold frame. 

Born in 1763; married, 1792, Henry Welbore, 2nd Viscount Clifden ; died at 
Blenheim, November 23, 1813. 



1425 — Maria, Countess Waldegrave. /S. ^ . 

After the painting by Sir Joshua Reynolds. C. S. No. 184, page 902. 
Third state. 

Margins are: at top and at sides, 1 1 / 2 ; at bottom, 2^ inches. Good impression. Has 
been folded once, but well flattened. Otherwise excellent condition. Gold 
frame. 

Daughter of Mr. (afterwards Sir Edward) Walpole and Mrs. Dorothy Paxton. 
Born, July 3, 1739; married, 1st, in 1759, James, 2nd Earl Waldegrave, who died in 
1763 ; 2nd, in 1766, William Henry, Duke of Gloucester, brother of George III. who 
was much displeased, sent them abroad, and the marriage was not published until 
1772, soon after which the brothers were reconciled. She died at Brompton, August 
22, 1807, and is buried at Windsor. She is a prominent personage in the Walpole 
Correspondence. 



REYNOLDS, SAMUEL WILLIAM 



Born in London in 1773. Pupil of Charles Henry Hodges. Died in London in 
1835. The distinguished engraver, Samuel Cousins, was one of his pupils. 

1426 — Sir Joshua Reynolds, P.R.A. . I 

After a painting by himself. | 
"Published Jany 1, 1796 by P. Brown, Crown Street, Soho." 

Margins are : at top, ^ ; at bottom, % ; at sides, inch. Rich velvety impression, 
in perfect condition. Gold frame. 

Sir Joshua Reynolds, Knight, President of the Royal Academy, Member of the 
Imperial Academy at Florence, Doctor of Laws of the Universities of Oxford and 
Dublin, and Fellow of the Royal Society. 

He was born, July 16, 1723, at Plympton, County Devon ; was placed under 
Hudson, afterwards went to Italy, and on his return became the leading portrait 
painter of his day; and his works have continually increased in estimation down to 
the present time. He died at his house in Leicester Fields, February 23, 1792, and 
was buried in St. Paul's. He was the intimate friend of Burke, Goldsmith, and 

Johnson, and was preeminently distinguished at an epoch of excellence in art and 
iterature. 



SHORT, FRANK 

« No one has done so much as Frank Short for the modern revival of mezzotint. 
— Frederic Wedmore, Etchings in England, page 95. 



142 7 — The Mouth of the Thames. & * 

After the painting by J. M. W. Turner, in the Duke of Westminster's Collection. 

Signed artist's proof. Special selected proof, signed also by Goulding the printer. 

There were printed 250 proofs, and the plate" was then destroyed. Oak frame. 



SMITH, JOHN RAPHAEL 

Born at Derby in 1752. About 1767 he came to London, and, it is said, first 
engaged himself as a shopman, but soon entered on the career of an artist. He 
practised painting extensively, and drew with great spirit. A very considerable 
number of his prints are from his own designs and pictures, yet he was most 
successful in his renderings of the works of Gainsborough, Reynolds, and 
Romney. He died at Doncaster on March 23, 18 12. 

"The prints published by him between the years 1775 and 1787 are, nearly 
without exception, among the most admirable productions ever executed in mezzo- 
tint." — Chaloner Smith. 



v^ 



1428 — Mrs. Carnac. z. jTe> ~ 

After the painting by Sir Joshua Reynolds. C. S. No. 31, page 1254. 
Fourth state, with the name and address of H. Humphrey as publisher. 
Mingll/VaTe*: at top, 1^; at sides, 2 inches; at bottom, 1 inch. Fine impression in 
excellent condition. Gold frame. (Edgcumbe sale, ,£1,218.) This price is 
^ P the highest yet recorded for a mezzotint portrait, /?&2. //p J 

Elizabeth, only daughter of Thomas Rivett, Esq., of Derby, M. P., married John 
Carnac, Esq., Brigadier-General in the East India Company's service, and celebrated 
in the annals of India, who died at Mangalore in November, 1800, leaving his brother- 
in-law, who also, in 1801, assumed his name, his heir. His son, the nephew of this 
lady, was created a baronet in 1836. 



4 



V 1429 — Lady Catherine Pelham Clinton. 



i_ f — - 



After the painting by Sir Joshua Reynolds. C. S. No. 43, page 1259. 
Second state, with the inscription. 
/ Margins are: at top, bottom, and sides, y z inch. Very fine impression, in perfect 

condition. Gold frame. (Blythe sale, 940 guineas.) 

Born, April 6. 1766; only daughter of Henry Pelham Clinton, styled Earl of 
Lincoln, and granddaughter of Henry. Duke of Newcastle ; married. October 2 1800 
William, styled Lord Folkstone, who succeeded his father as 3rd Earl of Radnor iii 
1828. She died at Paddington in her confinement of a second daughter, May 17, 

I 804 - 

1430 — The Honorable Mrs. Stanhope. t tfef - /7j~J I 

After the painting by Sir Joshua Reynolds. C. S. No. 158, page 1304. / ' 
V \ First state, with the inscription in scratched letters. 

\ MafgrfiS^re trimmed to plate mark at top and sides ; ^ inch of lower margin, and 

with it the publication line has been cut oft". Otherwise in perfect condition. 
A most beautiful impression. Gold frame. 

Eliza Falconer, one of the beauties of the day, married the Hon. Henry Fiterov 
Stanhope, younger son of the 2nd Earl of Harrington. } 



TURNER, CHARLES 

Born at Woodstock in 1773. Entered the Academy schools in 1795, and at first 
worked for Boydell in the Bartoloz/.i style. Later he turned his attention to 
mezzotinto engraving, and was especially successful as an interpreter of J. M. 
W. Turner, for whom he engraved twenty-three numbers of the "Liber 
Studiorum." In 1828 he was elected an Associate Engraver of the Royal 
Academy, and died in London, August 1, 1857. 



1431 — The Penn Family. f,, /H*. ~jfr^*>+At * 

-^After the painting by Sir Joshua Reynolds. 

***«t Published by C. Turner, Dec. 25, 18 19." With the title, engraved in script, 
below. 

Margins are: at top and sides, 1 inch; at bottom, 1 1^ inches. Magnificent impres- 
sion, in perfect condition. Gold frame. 

The children of Thomas Penn, Esq., of Stoke Park, Bucks, and Lady Juliana 
Penn, fourth daughter of the 1st Earl of Pomfret, and grandchildren of the famous 
William Penn. Counting from left to right of the print, the children are : 
Louisa Hannah Penn. Horn 1756, died 1766. 
John Penn. Born 1760. died 1834. 
Juliana Penn. Born 1753, married 1 771, died 1772. 
Granville Penn. Born 1761, died ? 



WARD, JAMES 

Born in Thames Street, London, October 23, 1769. At an early age became a 
pupil of his elder brother and of John Raphael Smith, and thus skilled in mcz- 
zotinto engraving. He afterwards chiefly devoted himself to painting, espe- 
cially subjects of animals, and was appointed painter and mezzotinto engraver 
to the Prince of Wales in 1794, A.R.A. in 1807, and R. A. in 18 II. He 
died November 23, 1859. 



1432 — Mrs. Billington as Saint Cecilia/^/,*^ JV******£ 

"""After the painting by Sir Joshua Reynolds. C. S. No. 5, page 1441. 
Third Halt, with the inscription, 

MaTgrnTTfre : at top and bottom, v£ ; at sides, }£ inch. Very fine impression, in 
excellent condition. Gold frame. 

Daughter of Weichsel, a good musician ; born in London about 1765 ; exhibited 
her musical talents at an early age ; married, when only sixteen, Mr. John Billing- 
ton ; appeared at Covent Garden in 1786, as " Rosetta" ; and thenceforward was a 
leading vocalist both in England and on the continent. After the death of her hus- 
band, 'married M. de Felissent, in 1797. Died at her estate of Artier, near Venice. 
August 25, 1818. 



WATSON, JAMES 

Born in Ireland in 1740. Moved to London early in life, and died there, May 20, 
1790. His style is excellently finished and delicate, and he seems to have 
been in the habit, when not completely satisfied with a plate, of working an 
entirely new one, instead of retouching and altering, as would be done by a less 
scrupulous artist. His daughter was Caroline Watson, the accomplished artist 
in stipple and mixed engraving. 



1433 — Catherine Bwibury. ? edU^-**!^ 
""After the painting by Sir Joshua Reynolds. C. S. No. 18, page**i495. 

First state, before any inscription ; before lower margin was perfectly cleaned. 

Margins are: at top, bottom, and sides, inch. From the collection of the Duke of 

Buccleuch. A superb impression, very rich and velvety, in perfect condition. 

Gold frame. 

Eldest daughter of Captain Kane Horneck ; immortalized by Goldsmith as "Little 
Comedy"; married, 177 1 , Henry William Bunbury ; died at General Gwyn's resi- 
dence, Egham Hill, July 8, 1799. 

1434 — Barbara, Countess of Coventry. . ? ? f ' " 

After the painting by Sir Joshua Reynolds. C. S. No. 36, page 1502. 

First state {very early proof), before inscription ; before margin on which inscription 

was to have been engraved was cleaned to receive it. 
Margins are: at top, bottom and sides, yi inch. Magnificent impression in perfect 

condition. Gold frame. 

Daughter of John, 10th Lord St. John ; married, 1764, George William, 6th Earl 
of Coventry ; died November II, 1804. 

I 

1435 — Anne, Duchess of Cumberland. p <r x^*o^ 7?Q l/dK 

"""'After the painting by Sir Joshua Reynolds. C. S. No. 37, page 1502/ 
Second state, with the date 1773. 

Ma r gi ns" are : at top and sides, l /> inch; at bottom the publication line has been 
trimmed off; otherwise in perfect condition. A magnificent and rich impres- 
sion. Gold frame. 

Eldest daughter of Simon Luttrell (who was created Haron Irnham in 1768, and 
Earl of Carhamnton in 1785); married, 1st. Christopher Horton, of Catton, in Derby- 
shire ; 2nd, in 1771, H. R. H. the Duke of Cumberland, younger brother of George III., 
who was much displeased at the alliance. She died in 1803. 



1436 — Samuel Johnson. j^l 



— - After the painting by Sir Joshua Reynolds. C. S. No. 82, page 15 17. 

First state, before name of the personage, and before the publisher's name and 
address. 

Margin has been trimmed close to plate mark at top and sides; at bottom 3y& inch has 
been trimmed off. Slightly foxed. Very good impression. Gold frame. 

Born September 18, 1709, at Lichfield. Died September 13, 1784. He has 
been termed, not inaptly, the " Colossus of English literature." This is a highly 
characteristic and remarkable portrait. 

1437 James Paine, Architect, and James Paine, Jr. / L # 

* After the painting by Sir Joshua Reynolds. C. S. No. m, page 1528. 
' Second state, with the inscription. 
Margins are: at top, bottom, and sides, y± inch. Fine impression, in excellent 
condition. Oak frame. 

An architect of considerable practice ; published plates of Mansion House at 
Doncaster, 175 1, and other works. Was High Sheriff of Surrey in 1785. Died in 
France in his 73rd year, in 1789. 



WATSON, THOMAS $, .< • ' ' 



Born in London in 1743 ; died there in 1781. His earlier prints were published by 
Sayer and others; about 1771 he appears to have resided at Broad Street, then 
to have removed to Bond Street, and, on becoming partner with Dickinson, to 
have taken Shropshire's place, at No. 158 in that street. 

His style is bold and powerful, resembling that of Dickinson. ^ 

1438 — Maria, Lady Broughton. 3c0 „ & 

After the painting by Sir Joshua Reynolds. C. S. No. 8, page 1554. 
First statt, before any inscription. 

Trimmed to plate mark at top and bottom, .^-inch margin at sides. A piece about }& 
inch square has been torn from upper left-hand corner of the print; otherwise 
in excellent condition. A very fine and rich impression. Gold frame. 

Daughter of John Wicker, Esq., of Horsham, Sussex; married, August i, 1766. 
the Rev. Sir Thomas Broughton, Bart.; died June 7, 1785. 



/ 



Stipple Engravings 

BARTOLOZZI, FRANCESCO 2 2 

Born in Florence, 1727. Pupil of Joseph Wagner at Venice. In 1764 he removed 
to London, and in 1769, upon the foundation of the Royal Academy, was 
nominated as one of the original members. He died in Lisbon on March 7, 
1815. 

1439 Miss Offy Gwatkin as "Simplicity." jfz? - 

After the painting by Sir Joshua Reynolds. Open letter proof. Printed in brown. 

Margins arc: at top, 2%\ at sides, 2; at bottom, 3 inches. Beautiful impression, 

in perfect condition. Gold frame. 

Grandniece of Sir Joshua Reynolds. Daughter of Robert Lovell Gwatkin, Esq., 
of Plymouth, and Theophila Palmer, the favorite niece of Sir Joshua Reynolds. 

This is usually considered to be one of the most charming of Sir Joshua's pictures of 
children. 

M 

2440 — Louisa Hammond. f , " 

After Angelica Kauffman. Printed in red. 

Margins trimmed to within inch of the oval engraved surface. Beautiful impres- 
sion, in excellent condition. Gold frame. 

Louisa Hammond is a character in "Emma Corbett, or the Miseries of Civil War," 
by S. J. Pratt. 



EARLOM, RICHARD 



Born in 1743. He was at first a pupil of Cipriani, but later devoted himself to mez- 
zotinto engraving, in which art he is said to have been self-taught. Although 
he executed few works in stipple, they are of a quality which entitles him to 
rank as one of the greatest engravers in that manner. He died in Exmouth 
Street, Clerkenwell, October 9, 1822. 

144:1 — George Augustus Eliot, Lord Heathfield. 

After the painting by Sir Joshua Reynolds. Proof with the names of painter and 
engraver, with the coat of arms and with the publication line, but before all 
other lettering. 

Margins trimmed to plate mark at top and sides, lower margin very slightly trimmed 
inside plate mark to the right; otherwise in excellent condition. Fine im- 
pression. Oak frame. 

" THE portrait is, of course, that with the keys, engraved in stipple by Earlom, 
after Reynolds." — Chahner Smith, page 1728. 

Youngest son of Sir Gilbert Eliot ; born about 1718 ; entered the engineers at 
Woolwich ; served at Dettingen and elsewhere ; commander of the forces in Ireland. 
1774; Governor of Gibraltar, 1776-1789; and maintained it against the attacks of 
the French and Spaniards ; created Lord Heathfield, 1787. Died at Aix-la-Chapelle, 
July 6, 1790. 



Stipple Engravings Printed in Colors 



BURKE, THOMAS 

Born in Dublin in 1749. A pupil of Dixon. Died in London in 18 15. In the 
opinion of some connoisseurs his engravings in stipple are more beautiful and of 
a greater richness than those executed by the more famous engraver, Bartolozzi. 

1442 — The Duchess of Richmond. 

After the drawing by John Downman. Open letter proof. Has been trimmed to oval, 
9^ " lY\ inches, margin being about $ inch all round the engraved surface. 
Fine impression, in excellent condition. In contemporary oval gold frame. 
Pasted on the back of frame is the original lower margin of the print, with 
engraved inscription as follows: 

"HER GRACE THE DUTCHESS OF RICHMOND 

" Engraved by Mr. Burke, from an original drawing by Mr. Downman, to corre- 
spond with the Portraits from the Richmond House Scenery . 

"London. Printed for M. Lawson. No. 168 Strand, Feby. 14, 1788." 

This impression was lent by the Honorable F. B. Massey-Mainwaring for exhibition 
at the Hanover Exhibition, held at the New Gallery, London, 1890- 1891. 



TOMKINS, PELTRO WILLIAM 



Born in London in 1760. Died there April 22, 1840. A pupil of Bartolozzi, who 
said of him, " He is my son in art; he can do all that I can in this way, and 
I hope will do more." 

1443— Mrs. Siddons. /i ^^ v 

/ After the drawing by John Downman. Open letter proof. 
V Has been trimmed like "The Duchess of Richmond" (see above). Inscription 
has been pasted on back of frame. Fine impression, in excellent condition. 
In contemporary oval gold frame. 
(Fraser sale, 150 guineas). 

This impression likewise was lent by the Honorable F. B. Massey-Mainwaring for 
exhibition at the Hanover Exhibition. 

Born at Brecknock, July 5, 1755, daughter of Robert Kemble, the manager of a 
company of strolling players, to one of whom she was married at Coventry, in 1773, 
in opposition to her lather's wishes. Failed at first in London, but was engaged in 
the provinces and at Bath ; appeared at Drury Lane, 1782, and was then appre- 
ciated as the great tragic actress. Separated from her husband in 1789. Died 
June 8, 1831. 



WATSON, CAROLINE 




Born in London about 1760. Daughter and pupil of James Watson, the celebrated 
mezzotinto engraver. In 1785 she was appointed engraver to Queen Caroline, 
and died in Pimlico, June 10, 18 14. She has been characterized as "a most 
amiable person, and an accomplished artist in stipple and mixed engraving." 



1444 — Lady Elizabeth Foster [Duchess of Devonshire). 

After the drawing by John Downman. Open letter proof. 

Has been trimmed to match "The Duchess of Richmond " and "Mrs. Siddons" 
(see above). Inscription has been pasted on back of frame. Fine impression, 
in excellent condition. In contemporary oval gold frame. 

This impression likewise was lent by the Honorable F. B. Massey-Mainwaring for 
exhibition at the Hanover Exhibition. 



Line Envravh 



ANNEDOUCHE, ALFRED 

Born at Paris in 1833. A pupil of Achille Martinet and of Gleyre. 

1445 — Les Tresors d'une Mere, 

After the painting by A. Jourdan. Beraldi, No. 19. 
Open letter proof on India paper. Gold frame. 

BURGER, JOHANNES 

Born in Burg, Canton Aargan, May 31, 1829. _ 

1446— Tk Vestal. ' 

After the painting by Angelica Kauffman in the Dresden Gallery. Apell, No. 9, 
Proof before all letters. Oak frame. 



FOLO, PIETRO 

A pupil of Volpato. 

1447 — The Descent from the Cross. , J £ > 

""After the painting by Daniele da Volterra. Open letter proof. Gold frame. 

The original painting is in S. Trinita dc' Monti, Rome. Poussin declared this to 
be the third in order of merit of the great pictures of the world, ranking it next after 
" The Transfiguration," by Raphael, and " The Communion of Saint Jerome," by 
Domcnichino. 



LEVY, GUSTAVE 

Born at Toul, January 23, 18 19. In 1837 he came to Paris, studied wood engrav- 
ing under Best and Leloir, and, later, line engraving under Geille. His first 
plate was exhibited in 1 844, and from that time onward he executed many 
admirable plates. He was the vice-president of the Soci'et'e des Graveurs au 
Burin. — Beraldi, vol. ix., pages 1 72-174. 

1448 — La Belle Jardiniere. iSfS 

"" After the painting by Raphael, in the Louvre. Beraldi, No. 9. 
Proof before letters, on India paper. Gold frame. 

This picture is supposed to he the one ordered by Filippo Segardi, of Siena, left 
incomplete in Florence by Raphael when summoned to Rome, and finished by 
Ridolfo Ghirlandajo. Segardi sold it to Francis I., from whose collection it passed to 
the Louvre. 



Etchings 



ARAUJO, JOAQUIN 
1449 — Bon Baltasar Cdrlos (Son of Philip IF. of Spain). 



From the painting by Velasquez in the Madrid Gallery. 

Signed artist's proof on Japan paper. A special selected proof, signed also by Gould- 
ing, the printer. There were printed of this plate 150 proofs only, and the 
plate was then destroyed. Oak frame. 



HADEN, SIR FRANCIS SEYMOUR 

Born in London, September 16, 18 18. Founder and President of the Royal Society 
of Painter-Etchers. The greatest etcher of |la*)i(cape of tjhis (pr perhaps 
any) century. V^^W^'*^' 

"An artist of rare and consummate skill." — PhihfoimH Hamerton. 1 U 

1450 — The Breaking up of the "Agamemnon." 

~"FTrs't state. Drake, No. 128. 
Fine impression on Whatman paper. Unsigned. Gold frame. 

" With such a subject as this for a motive, an etcher will do manly work if the 
strength to do it is in him. And this is manly work." — Philip Gilbert Hamertok, 
Etchings and Etchers, page 310. 

1451 — Calais Pier. 

After the painting by J. M. W. Turner in the National Gallery, London. 

Second state. Drake, No. 140. There were printed 50 proofs only in this state. 

Signed artist's proof on Whatman paper. 
Full margins. In perfect condition. Oak frame. 

Seymour Hadcn, writing in 1875 toPhilip Gilbert Hamerton, says of this plate: 

" I have done an etching of Turner's ' Calais Pier,' 36 inches square, which is by 
many degrees the finest thing (if I may be permitted so superlative an expression) I 
have done, or ever shall do. I mean to publish it about the close of the year. I have 
built a press for printing it, and am having paper made expressly, and real sepia 
(which is magnificent both in color and price) got from the Adriatic for the work: 
so great things ought to result." 

This letter is quoted as above in " Philip Gilbert Hamerton: Autobiography and 
Memoir," page 386, written by his widow. The memoir continues: 

" And the result was certainly by far the finest of modern etchings, according 
to Mr. Hamerton's opinion. In some particulars he preferred the ' Agamemnon,* but 
the size of the ' Calais Pier,' as an increase of difficulty was to be considered, and if 
the 'Agamemnon' was an original conception, it cannot be said that 'Calais Pier' 
was a copy— so much being due to interpretation. Later on, when my husband was 
in possession of this chef-d'oeuvre, it always occupied the place of honor in the 
house." 



HERKOMER, HUBERT 



Born at Waal, Bavaria, May 26, 1849. Resident of London. 

" Herkomer's theme is generally a dramatic one, and into it he introduces such 
obvious interest of line and expression as may be found in a man comely and vigor- 
ous, a girl with Anne Page's ' eyes of youth.' "—Frederick Wedmore, Etching in 

England, page 152. 

P 

1451a — Girl with Flowers. 

Original dry-point (" Op. xiii. iS/S"). 
Signed artist's proof. Oak frame. 



HOLE, WILLIAM 
1451b — Mill on the Yare. 

After the painting by John Crome (" Old Crome "). Signed artist's proof on Japan 
paper. There were printed 100 proofs only, and the plate was then destroyed. 
Gold frame. 



JASINSKI, F£LIX 

One of the most skilful of the modern school of translator-etchers. 

1452 _ The Golden Stairs. |^ | ()(, • 

After the painting by Edward Burnc-Jones, in Lord Battersea's Collection. Signed 
artist's proof on vellum. Signed by both painter and etcher. There were 
printed 350 proofs only, and the plate was then destroyed. Unframed. 

" In 1880 appeared 'The Golden Stairs,' in which a decorative motive was elabo- 
rated into a picture almost as sweet and delicate in its color as a white lily." Cosmo 

Monkhouse, " Edward Burne-Jones " (Scribner's Magazine, February, 1894). 

1453 — The Birth of Venus. 

After the painting by Botticelli, in the Uffizi Gallery, Florence. Remarque proof 
on vellum, signed by the etcher. Unframed. 

" This figure has been justly praised as the most beautiful Venus in modern art. 

. . . The picture speaks to us like a story of the golden age of Saturn." Ernst 

Steinmanm, Botticelli, page 85. 

1454 — Madonna and Child, with the Infant Saint John. 

After the painting by Botticelli, in the Louvre. Remarque proof on vellum, signed 
by the etcher. Unframed. 

1455 — Madonna and Child, with the Infant Saint John. 

Xfter the painting by Botticelli, in the Louvre. Proof on vellum, unsigned. Unframed. 



KRATKE, LOUIS 



Born in Paris in 1848. Studied painting under Gerome, and etching under Charles 
Waltner. His plates are good examples of pure etching, and careful trans- 
lation of the originals from which he works. f I 

1456 — Salisbury Meadows. 

After the painting by John Constable. Remarque proof on vellum. There were 
printed 75 proofs only, and the plate was then destroyed. Gold frame. 



LAGUILLERM IE, FREDERIC-AUGUSTE 

Born March 27, 1841. Studied under Bouguereau and Leopold Flameng. In 1863 
he exhibited at the Salon for the first time, showing the " Flute Flayer" and 
44 The Wife of Diomedes," both from paintings by Boulanger. In 1866 he 
was awarded the Prix it Rome. He was placed Hors Concurs, awarded a 
second-class medal, and decorated with the Legion of Honor in 1 882. Many of 
his earlier etchings were done for the "Gazette des Beaux-Arts" and " L'lllus- 
tration," but his fame rests upon his masterly plates after Van Dyck, Titian, 
Orchardson, and others. — Beraldi, vol. ix., page 13. 



2457 Beatrix de Cusance, Duchesse de Lorraine. 

' After the painting by Van Dyck, at Windsor Castle. Signed artist's proof on parch- 
ment. There were printed 125 proofs only, on parchment, and the plate was 
then destroyed. Oak frame. 

Beatrix de Cusance. Princess de Cantecroy, Duchesse de Lorraine, was the 
daughter of Claude Francois de Cusance. Baron de Beauvoir. and of Ernestine de 

Wlt After the "eat"' of her husband, the Prince de Cantecroy or Cautecroix. she 
was publicly espoused at Besanqon. April 2, 1637, by Charles IV.. Duke of Lorraine 
although his wife. Nicole de Lorraine, was then alive. His marriage, .however with 
Nicole who was his cousin german, he loudly proclaimed to be invalid, and strenu- 
ously urged the authorities at Rome to pronounce that with Beatrix legal. 

In these endeavors he failed; for not only was his first marriage declarer! valid, 
but he was also excommunicated by the Pope, from the penalties of which he was 
only to be relieved by his consenting to separate himself from Beatrix: but the papa 
thunders fell harmless, and the Duke still continued to live with her. 1 his matM 
might, in some degree, be owing to the extreme waywardness of his character, tor 
when his wife Nicole died, in 1657, a short time only after his marriage with her had 
been declared valid, he refused the importunities of Beatrix to ratify his union with 
her; and while he thus hesitated, the Court of Rome declared this second marriage 

This last proceeding determined him: and in 1663, a few hours only before she 
expired, he married her by procuration. 

Two children were the" fruit of this connection, the Prince Henry de Vaudemont 
and Madame de Lillebonne d'Elveuf. the latter of whom was at one time proposed 
as a match for James, Duke of York, while he was residing abroad in exile. 



LEFORT, HENRI 



Born in Paris, August 31, 1852. Pupil, in painting, of Cabanel; and in etching of 
Leopold Flameng. For his etching of Washington he was awarded a third- 
class medal at the Salon of 1881, and in 1890 his large portrait of Leon Gam- 
betta earned for him the decoration of the Legion of Honor. In 1885 Lefort, 
Laguillermie, and Courtry founded the Soti'et'e des Aquafortistes Franfais. In 
1888 Lefort was etatffed president of the Seciete y and has been twice reelected. 



— Benjamin Franklin at the Age of yj. 
* From the Daintine bv Joseph S. Duplessis (i72^-i£ 



f 



From the painting by Joseph S. Duplessis (1725-1802). Remarque proof on Japa- 
nese paper. The " remarques" are the seal of the Grolier Club, and from a 
rare terra-cotta medallion modelled from life in 1777 by Jean B. Nini (1717- 
1786). Gold frame. 

The original painting was presented by Mr. George A. Lucas to the W. H. Hunt- 
ington Collection of Americana at the Metropolitan Museum of Art, New 
York. 

There were printed 387 proofs on Japanese paper, and four proofs on vellum, for 
members of the Grolier Club only. 

1459 — Benjamin Franklin. 

From the painting by Duplessis. Remarque proof on Japanese paper. Unframed. 



LHUILLIER, VICTOR-GUSTAVE 

Born at Altkirch. A pupil of Gaucherel. 

^4G0 — " Dry as a Lime Kiln." 

After the painting by Seymour Lucas. Artist's proof on Japanese paper; signed by 
both painter and etcher. There were printed 100 proofs only on Japanese 
paper. Oak frame. 



MACBETH, ROBERT W. 

Born in Glasgow, September 30, 1848. He studied art at the Royal Scottish 
Academy schools of Glasgow, receiving a medal while yet a student. He first 
exhibited his paintings in 1870, and since then he has been a frequent con- 
tributor to the principal English and continental exhibitions. He is an Asso- 
ciate of the Royal Academy, an Honorary Member of the Academy of 
Munich, and the Royal Academy of San Fernando, of Madrid. Although he 
had done some etchings of small size in his leisure hours, it was not until after 
the death of his friends, Frederick Walker, George Pinwell, and George Mason, 
that he seriously turned his attention to the art. His plates of " The Harvest 
Moon," "The Plough," "The Mushroom Gatherers," and others, are 



remarkable, inasmuch as he has preserved in them not only the spirit and 
composition of the originals, but has succeeded, to a great extent, in trans- 
lating the effects of color, which were among the chief charms of the paintings 
themselves. 

His translations, made directly from the originals, of paintings by Titian and Velas- 
quez, in the Gallery at Madrid, and of the " Bacchus and Ariadne," from the 
painting by Titian, in the National Gallery, London, are among the most 
important plates of the nineteenth century. t 

1461 — A Rainy Day at Cookham. 

After the water color by Frederick Walker. Signed artist's proof on Japanese paper. 
Gold frame. 



1462 — The Fishmongers Shop. 3 ' " 

After the water color by Frederick Walker. Signed artist's proof on Japanese paper. 

There were printed 500 proofs only, and the plate was then destroyed. Gold 
frame. 

" In the winter exhibition of the Old Society of 1872-73 appeared ' The Fish- 
monger's Shop,' which many connoisseurs have held to be our painter's finest achieve- 
ment in water color. Daring and splendid in the harmony of its tints, so finely bal- 
anced as to produce that unity of tone most difficult to compass with contrasting 
hues of frank brilliancy . . . the tour de force lies in the happy combination of 
the bright green woodwork which frames the shop with the blue green and the red 
of the sparkling fish, with the indigo blue of the jolly salesman's apron, and the 
yellow and tawny of the girl's pretty, old-fashioned costume, relieved by the coral 
pink ribbon in her hat. This is undoubtedly a brilliant performance." — Claude 
Phillips, Frederick Walker and His Works, pages 50-61. 



1463 — The Mushroom Gatherers. J Of * 

""After the sketch in oils by Frederick Walker. Signed artist's proof on Japanese paper. 

There were printed 300 proofs only, and the plate was then destroyed. Gold 
frame. 

" ' The Mushroom Gatherers,' in the collection of Mr. Somerset Beaumont, was 
painted about 1868. The solemn, mournful tonality of the landscape, with its 
illumination of earliest dawn, but above all the figure of the man stooping, basket 
in hand, in the foreground, irresistibly reminds the beholder of the noble style, the 
balance in action, of Jean-Franc,ois Millet, the solemn poet-painter of rustic life. 

. . The picture in its present state is a finished sketch in oils, on paper affixed to 
a panel."— Claude Phillips. Frederick Walker and His Works, page 40. 

14G4— The Plough. *)0* v 

\ .After the painting by Frederick Walker. Signed artist's proof on Japanese paper. 

There were printed 500 proofs only, and the plate was then destroyed. Gold 
frame. 

" At the Royal Academy Exhibition of 1870 appeared ' The Plough,' which is at 
once Walker's noblest and most poetic invention. . . . The landscape is pure 
English, simple and unaspiring in character, and yet the artist has been so possessed 
with the mysterious, transforming harmonies of sunset that he succeeds in infusing 
into his scene— without meddling with its structure, as a Turner would without hesi- 
tation have done— something of a portentous, tragic splendor. —Claude Phillips, 
Frederick Walker and His Works, pages 5 2_ 54- 



1 465 — The Harvest Moon. W < 



\ 



f After the painting by George Mason. 

S Trial proof before the first published state. It has been extensively drawn upon by the 
' " etcner, and besides his signature, bears the words " yd State," written in 
pencil, on the lower right-hand corner of the margin. There were printed 
500 proofs only of this plate. Gold frame. 

"... That pure pastoral poem in which George Mason sings to us of love 
and abundance and of happy, if fatiguing, toil, his idyll of the 'Harvest Moon.' 

. Very grateful indeed should we all be to Mr. Robert Macbeth, for he has given 
George Mason's idyll to the public in one of the noblest translator's etchings which 
any Englishman has yet produced. — Walter Shaw-Sparrow, " The Collection of 
Mr. Alexander Henderson " {Magazine of Arts). 

\ 1466— The Harbour of Refuge. 

After the painting by Frederick Walker. Signed artist's proof. Gold frame. 

" To the year 1872 belongs ' The Harbour of Refuge,' which is, perhaps, the most 
widely appreciated of all Walker's works . Nothing could well be lovelier 
than the mise-en-scenc he has chosen to enframe his figures, this red brick, purple- 
toned quadrangle of buildings (studied from the Fishmongers Almhouscs at Bray), 
with the finely placed and finely composed statue on its pedestal in the middle of the 
greensward made bright with star-like blossoms; with its flowering may-tree, only less 
beautiful than the one in ' The First Swa low.' , . . Nowhere has Walker lavished 
a ercater skill on the painting of detail, or given a more jewel-like quality to his 
work than'in certain passages here; and yet there are many s.^ns of a broadening of 
technique such as is not to be traced in earher examples7'-CLAUD E Phillips. 
Frederick Walker and His Works, pages 57-59. 

1467 — Portrait of Alonso Cano. 

V" After the painting bv Velasquez, in the Madrid Gallery. Signed artist's proof on 
vellum. Special selected proof, signed also by Goulding, the printer. There 
were printed 350 proofs only, and the plate was then destroyed. Oak frame. 

Alonzo Cano, painter, sculptor, and architect, sometimes called " the Spanish 
Michelangelo," was born in Granada in 1601, and died there in 1667. He was a fel- 
low-pupil and friend of Velasquez. 



• , ],468 — The Surrender of Breda [Las Lanzas). 

' '""After the painting by Velasquez, in the Madrid Gallery. Signed artist's proof, printed 
upon Japanese paper laid into- hand-made paper. Special selected proof, signed 
also by Goulding, the printer. There were printed 500 proofs only, and the 
plate was then destroyed. Oak frame. 

•"The Surrender of Breda,' better known under the name of 'Las Lanzas,' 
mingles in the most exact proportion realism and grandeur. Truth pushed to the 
point of portraiture does not diminish in the slightest degree the dignity ot the his- 

^"^AVMt and spacious sky. full of light and vapor, richly laid in with pure ultra- 
marine mingles its azure with the blue distances of an immense landscape where 
sheets of water gleam with silver. Here and there incendiary smoke ascends from 



the ground in fantastic wreaths and joins the clouds of the sky. In the foreground 
on each side a numerous group is massed — here the Flemish troops, there the Spanish 
troops— leaving for the interview between the vanquished and victorious generals an 
open space, which Velasquez has made a luminous opening, with a glimpse of the 
distance, where the glitter of the regiments and standards is indicated by a few mas- 
terly strokes. 

"The Marquis of Spinola, bare-headed, with hat and staff of command in hand, 
in his black armor damascened with gold, welcomes with a chivalrous courtesy that 
is affable and almost affectionate, as is customary between enemies who are generous 
and worthy of mutual esteem, the Governor of Breda, who is bowing and offering 
him the keys of the city in an attitude of noble humiliation." — Th&DPHILE GaUTIER, 
Guide de V Amateur au Musee du Louvre. 

.% " 

1469— The Tapestry Weavers (Las HHanderas). 

After the painting by Velasquez, in the Madrid Gallery. Signed artist's proof, printed 
upon Japanese paper laid into hand-made paper. Special selected proof, signed 
also by Goulding, the printer. There were printed 500 proofs only, and the 
plate was then destroyed. Oak frame. 

The scene is laid in the royal tapestry manufactory of S. Isabel, Madrid. The 
picture was painted about the year 1656, and was one of the treasures of the palace 
of Buen Retire 



1470 — Saint Margaret. £cU v . d>0, - 

After the painting by Titian, in the Madrid Gallery. Signed artist's proof on vellum. 
Special selected proof, signed also by Goulding, the printer. There were 
printed 350 proofs only, and the plate was then destroyed. Oak frame. 

Saint Margaret, the daughter of a priest of Antioch, was converted to Chris- 
tianity when a child, and in spite of terrible torments maintained her faith. Satan 
attempted to terrify her by appearing in the form of a dragon, and swallowed her; 
but instantly burst asunder, and Margaret remained unhurt. 



1471 — Bacchus and Ariadne. fjuJf-'- fo . " 

After the painting by Titian, in the National Gallery, London. Signed artist's proof 
printed upon Japanese paper laid on Wrigley's. Special selected proof, marked, 
"Selected proof, Goulding." There were printed 500 proofs only, and the 
plate was then destroyed. Oak frame. 

" Is there anything in modern art— we will not demand that it should be equal- 
but in any way analogous to what Titian has effected in that wonderful bringing 
together of two times in the 'Ariadne' in the National Gallery ? Precipitous, with 
his reeling Satyr rout about him. repcopling and rcilluming suddenly the waste places, 
drunk with a new fury beyond the grape, Bacchus, born in fire, fire-like flings himself 
at the Cretan. This is the time present. . . . But from the depths of the imagina- 
tive spirit Titian has recalled past time, and laid it contributory with the present to 
one simultaneous effect. With the desert all ringing with the mad symbols of his 
followers, made lucid with the presence and new offers of a god— as if unconscious 
of Bacchus, or but idlv casting her eyes as upon some unconcerning pageant— her 
soul undistracted from Theseus— Ariadne is still pacing the solitary shore, in as much 
heart silence, and in almost the same local solitude, with which she awoke at day- 
break to catch the forlorn last glances of the sail that bore away the Athenian." 
— Charles Lamb. 



RAEBURN, H. MACBETH 



Born in Helensburgh, Dumbartonshire, Scotland, September 24, i860. He studied 
painting in the Royal Scottish Academy schools, where he received the highest 
award for any picture exhibited during the period of his scholarship. He 
afterwards studied painting in Holland, Germany, France, and Spain; but his 
knowledge of etching is entirely self-acquired, he having had no master in the 
art. His first exhibited etching was shown at the Royal Academy exhibition 
of 1887, since which time he has executed a number of important and excel- 
lent plates after paintings by contemporary artists, as well as after the works 
of the older masters. 



1472— Portrait of a Gentleman. 

""After the painting by Van Dyck, in the Madrid Gallery. Signed artist's proof on 
vellum. A special selected proof, signed also by Goulding, the printer. There 
were printed of this plate 25 proofs only, on vellum, and 75 proofs on Japanese 
paper, after which the plate was destroyed. Oak frame. 

In the opinion of many connoisseurs this is the finest plate that Raeburn has 
yet etched. 




RAJON, PAUL 

Born at Dijon in 1844. He studied etching under Gaucherel and Flameng, and at 
the Salon of 1869 received a medal. In the following year, and again in 
1873, he received medals for his etchings; and at the Universal Exposition 
of 1878 he was placed Hors Concours for his masterly portrait of Darwin. 
In 1888, when his fame was at its height, and when commissions were being 
showered upon him, he died. — Beraldi, vol. xi., pages I 51-167. 



1473 The Raider, Seated, His Head K^mg upon His Hand. 
After the painting by Meissonier. Beraldi, No. 8. 

First finished state, before all letters, before the plate was cut, and before the names of 

painter and engraver were taken out. 
Beautiful impression, from Rajon's Collection. One of Rajon's finest plates. 

Unframed. 



1474 The Flemish Smoker. 

After the painting by Meissonier. Beraldi, N0&12. 
First state. Beautiful impression, on Japanese paper, from Rajon's Collection, marked 

by him " ier Et." 
This plate is also specially commended by Beraldi. Unframed. 




1475 — The Poor Student. 

After the painting by Adolphe-Charles Steinheil (Steinheil fils). Beraldi, No. 23. "y 
Proof before title, with " Rajon d'apres Steinheil fits " scratched in the lower margin. f> 
From Rajon's Collection, and marked by him " Av. Dernier etat." One of the most 
admired of Rajon's smaller plates. Unframed. 

147G — The Flower Girl. 

After the painting by Murillo. Beraldi, No. 93. / 1 

Signed artist's proof on Japanese paper.. From Rajon's Collection. Unframed. 

1477 — Woman Holding a Pitcher. ^ 
After the painting by Goya. Beraldi, No. 117. 

Proof before all letters. Very brilliant impression. From Rajon's Collection. Un- 
framed. 



1478 — Portrait of Herr Joseph Joachim. ^ 

After the painting by G. F. Watts. Beraldi, No. 159. j jf 

Signed artist's proof; signed by both painter and etcher. Gold frame. 

" The greatest of living violin players." — Herr Paul David. 



REMBRANDT VAN RYN 



Born in Leyden in 1608. Died in Amsterdam in 1669. 

"The opinion among etchers which enthrones Rembrandt as the king of their 
craft, is the most recent instance of perfect unanimity among people of all nationalities. 
As we all say that Phidias was the greatest sculptor. Homer the greatest epic poet, 
and Shakespeare the greatest dramatist, so are we all agreed upon the world-wide 
supremacy of Rembrandt. ... In his own lines of work there is no one in all 
history to be compared with Rembrandt: in artistic influence he has one etjual, en- 
tirely unlike himself, and that is Raphael. They are the two most influential graphic 
artists of all time."— P. G. Hamerton, The Etchings uf Rembrandt, pages 13, 14. 



9 — Abraham and Isaac. 

Ch. Blanc, No. 5. Claussin, No. 39. Bartsch, No. 34. Wilson, No. 38. 
Only state. Signed, and dated 1645. Fine original impression, in excellent con- 
dition. With margins. 

" Very striking is the small plate, etched in 1645, of Abraham and Isaac on the 
way to the scene of the sacrifice. They have reached the lonely mountain-top sur- 
rounded by clouds. Abraham, who appears in the rich Oriental costume which Rem- 
brandt had invented for his patriarchs, has placed the pail containing fire on the 
ground and turned round towards his boy; the latter, however, stands in amazement 
... his childish intellect cannot take in what his father says to him."— KnaCKFUSS, 
Rembrandt, pages 06, 97. 



1480 — Abraham s Sacrifice. 

Ch. Blanc, No. 6. Claussin, No. 36. Bartsch, No. 35. Wilson, No. 39. 
Only state. Signed, and dated 1655. Fine original impression, in excellent con- 
dition. With margins. 

" By its grandeur and originality of invention and composition may well take 
rank as one of Rembrandt's finest plates."— P. G. Hamerton, The Etchings of Rem- 
brandt, page 52. 

■1481 — The Flight into Egypt. The Holy Family Crossing a Rill. 

Ch. Blanc, No. 28. Claussin, No. 59. Bartsch, No. 55. Wilson, No. 60. 
Only state. Signed, and dated 1654. Fine original impression, in excellent con- 
dition. 

"This is one of Rembrandt's small sketch plates in which an entire subject is 
indicated with little labor both in form and light and shade." — P. G. Hamerton- The 
Etchings of Rembrandt, page 48. 

1482 — Jesus Christ Preaching. 

Ch. Blanc, No. 39. Claussin, No. 71. Bartsch, No. 67. Wilson, No. 71. 
First state, before the retouch by Pierre Norblin, Very fine original impression, in 
perfect condition. 

"No artist has ever been able to give a more sympathetic picture of love for 
mankind than that of the Saviour standing in a dark space on a brightly lighted 
eminence, and speaking, with upraised hands, to the people gathered round him. 
The whole forms a wonderful painter's poem on the text: ' I am the true Light.' " 
Knackfuss, Rembrandt, pages 122, 123. 



1483 — Clement de Jonghe. 

Ch. Blanc, No. 180. Claussin, No. 269. Bartsch, No. 272. Wilson, No. 274. 
Fifth state (of six). Signed, and dated 1651. Fine original impression, in excellent 
condition. From the collection of William Sharp. 

"The admirable portrait of Clemens de Jonghe, who was one of the most famous 
printsellers and publishers of his day. and who looks at us with so decided and calm 
an expression in his clever eyes." — Knatkfuss, Rembrandt, page 118. 

" The most subtle portrait of that meditative printseller, Clement de Jonghe. It 
is treated with singular breadth and luminousness, and of character is a profound 
revelation." — Frederick Wedmore, Fine Prints, page 61. 

\i 

1484 — Jan Lutma. 

Ch. Blanc, No. 182. Claussin, No. 273. Bartsch, No. 276. Wilson, No. 278. 
Second state. With the names of Lutma, of Rembrandt, and with the date 1656. 
A magnificent impression, in perfect condition. With margin. 

" Rembrandt produced one of his most masterly portrait-etchings in 1656, the 
incomparably picturesque and life-like print of the famous goldsmith, Janus Lutma. 
of Groningcn."— Knackfuss, Rembrandt, page 137. 

"One of his finest portraits, that of 'Johannes Lutma,' a most powerful and 
characteristic study, both of face and figure."— P. G. Hamerton, The Etchings of 
Rembrandt, page 55. 



2485 — Uytenbogaert. A Butch Minister, w Jf ' J jjj 

Ch. Blanc, No. 190. Claussin, No. 278. Bartsch, No. 279. Wilson, No. 283. 
Fourth state. The plate made a true octagon. Signed, and dated 1635. Fine 
original impression, in perfect condition. With margin. 

"Worthy to rank with this masterpiece of spirit and life is the portrait of ' Jan 
Uytenbogaert,' preacher of the sect of Arminian Remonstrants; a portrait pictur- 
esquely posed, and so carefully carried out that it has all the effect of a picture." 
— Knackfuss, Rembrandt, page 54. gr 

1480 — Rembrandt, with a Scarf around His Neck. * 

Ch. Blanc, No. 229. Claussin, No. 17. Bartsch, No. 17. Wilson, No. 17. 
Third state (of four). Signed, and dated 1633. Fine original impression, in excellent 
condition. 

" Le visage, quoique tout entier dans I'ombre, s'y modele avec beaucoup de relief, 
de rondeur et de chaleur."— Ch. Blanc, L'CEwre Complet de Rembrandt, vol. ii, page 



1 7-' 



J487 — Old Man with a Large Beard, Lifting His Hand to His Cap. 
Ch. Blanc, No. 268. Claussin, No. 256. Bartsch, No. 259. Wilson, No. 260. 
Second state (before the retouch). Remarkably fine impression, in perfect condition. 

" Rien du plus saissant que de voir au milieu d'une feuille blanche la tete et la 
main d'un vieillard qui cherche sa pensee et semble regarder attentivement dans 
l'interieur de son esprit."— Ch. Blanc, vol. ii., page 239. 

1488 - The Obelisk. tfjJ ^ 7^ 6 

Ch. Blanc, No. 328. Claussin, No. 224. Blrtsch, No. 227. Wilson, No. 224. 
Second state. With the shading on the cottage roof. Brilliant impression, rich in dry- 
point work, in perfect condition. 

" Tres joli paysage " . . . " bien fini."— Bartsch. page 149- 

The first state has sold for as high a sum as £185 sterling. ^ 

1489 — Landscape, with a Cow Drinking. 

Ch. Blanc, No. 337. Claussin, No. 234. Bartsch, No. 237. Wilson, No. 234. 
Second state. Very good impression, in excellent condition. 

" Paysage grave d'une pointe tres spirituelle."— Bartsch, page 154. 



ROSENTHAL,^LBERT 



149jQ__ Alexander Hamilton. 

After the painting by John Trumbull. Remarque proof, on Japanese paper, signed 
by the etcher. " Remarques " are portraits of the painter and the etcher. 
Facsimile signature of the painter is engraved in lower margin. This proof is 
numbered " No. 99, W. J. C." (William J. Campbell, the publisher). 
Unframed. 




1491 — Thomas Jefferson. * , 

After the painting by Gilbert Stuart. Remarque proof, on Japanese paper, signed by 
the etcher. "Remarques" are portraits of painter and etcher. Facsimile 
signature of the painter is engraved in the lower margin. This proof is num- 
bered " No. 30, W. J. C." Oak frame. 



v SHORT, FRANK 

& 

"Amongst the original etchers ... I place Frank Short almost at the top of the 
tree." — Frederick Wedmore, Etching in England, page 93. 

1492 — Noon on the Zuyder Zee. 

Original etching. Signed artist's proof. Unframed. 



v SLOCOMBE, C. P. 

« 1493 — Portrait of Admiral Michel Adriaanszoon de Ruyter. 

~~Yram the painting by Franz Hals, in Earl Spencer's Collection. Remarque proof, on 
Japanese paper, signed by the etcher. Oak frame. 
The number of remarque proofs printed was limited to 25. 

Michel Adriaanszoon de Ruyter was born at Flushing, Netherlands, March 24, 
1607, and died at Syracuse, Italy. April 2a, 1676. He served against the Spaniards 
in 1641, and against the English, 1652-54. He was made vice-admiral of Holland 
after the death of Tromp in 1653. and in 1659 commanded the Dutch fleet which sup- 
ported Denmark against Sweden. He was subsequently made Admiral-in-Chief of 
the Dutch fleet, and commanded against the English in 1665-67, sailing up the Thames 
and Mcdway in 1667. He commanded against the combined English and French 
fleets in 1672-73, and was mortally wounded in a battle against the French off Messina 
in April, 1676. 

1493a — Forbes-Robertson as Cardinal Wolsey. 

After the painting by Samuel Phelps. Remarque proof. Oak frame. 



SMILLIE, JAMES D. 

Born in New York in 1833. Son and pupil of the eminent American engraver, 
James Smillie. He is a member of the National Academy of Design, of the 
New York Etching Club, and of the Royal Society of Painter-Etchers, London. 

1494 — A Reading from Homer. 

After the painting by Alma-Tadema. Signed artist's proof on Japanese paper. 
This is one of four proofs printed by the etcher himself, who has marked upon 
it, " No. 4. Reading Homer — after the original painting by Alma-Tadema." 
Unframed. 



TISSOT, JAMES J. 



Born at Nantes in 1836. Died at his home, near Paris, 1892. His work 
comprises about eighty plates, many of them ranking among the most impor- 
tant original dry-points produced in the last quarter of the nineteenth century. 

1495 — Histoire Ennuyeuse. /^L * 

" Original dry-point. Beraldi, No. 25. 

Signed artist's proof on Japanese paper. Printed by the artist, and bearing his red 
stamp. Oak frame. 

" Morceau remarquable et original." — Beraldi, vol. xii., page 127. 

1496— Oc tober. 

Original dry-point. Beraldi, No. 26. 

Signed artist's proof on hand-made paper. Printed by the artist, and bearing his red 
stamp. Oak frame. 

This dry-point is usually considered Tissot's masterpiece. 



WALTNER, CHARLES 



Born in 



Paris, March 23, 1847. Studied with Martinet, Henriquel-Dupont, and 
J. L. Gerome. In 1869, at the age of twenty-two, Waltner received the Prix 
de Rome, and in the following year a medal of the first class at the Salon, for 
his plate of a portrait after Rubens. From that time forward his position as 
one of the greatest translator-etchers has been assured, and to name his finest 
plates is to name a succession of masterpieces. 



1497 — Mrs. Braddyl. 

""After the painting by Sir Joshua Reynolds. 

Signed artist's proof. There were printed 200 proofs only, and the plate was 
then destroyed. Gold frame. 

The wife of William Braddyl, Esq., of Conyshead Priory, Lancaster. 



/at 



j49g_ Lady Camden. 

'""After the painting by Sir Joshua Reynolds. Beraldi, No. 107. 

Signed artist's proof on vellum. There were printed 125 proofs only. 
" Piece capitalc."— Beraldi. 

The Night-Watch [La Ronde de Nuit). 

" After the painting by Rembrandt. Beraldi, No. 116. 

Open letter proof on Japanese paper laid into hand-made paper. 
648." In this state 400 numbered impressions were printed. 



0$ 



Gold frame. 



Proof " No. 
Gold frame. 



The sortie of the Banning Cock Company, famous all the world over by the 
inaccurate title of " The Night Watch," is the pride and chiefest treasure of the Ryks 



Museum at Amsterdam. It represents the gathering, in broad daylight, of the Civic 
Guard of Amsterdam, outside their quarters, from which they are emerging at the 
sound of a drum. Captain Banning Cock, and his lieutenant, Willem von Ruytenberg. 
are in the centre. On a shield on the building arc the names of sixteen of the principal 
figures, all portraits. The painting is one of Rembrandt's most important works, 
and this etching, in its own way, is hardly less remarkable than the original picture. 



WHISTLER, JAMES A. McNEILL 

Born in Baltimore (or St. Petersburg?) in July, 1834. 

"The most skilled wislder of the etching-needle whom the world has seen since 
Rembrandt." — Frederick Wedmore. 

" All his work is alike perfect. It has only been produced under different cir- 
cumstances, and is an attempt to render different effects or situations. Therefore the 
methods vary, but the results are always the same — great." — Joseph Pennell. 



1500 — Pierrot, Amsterdam. 

Wedmore, No. 264. 

Brilliant early impression, printed by Mr. Whistler, and signed with his 44 butterfly" 
signature. Framed in gray and ivory frame, as designed by Mr. Whistler. 

Mr. Whistler likes this the best of his Amsterdam plates. 



1501 — Bridge, Amsterdam. 
Wedmore, No. 267. 

A beautiful, harmonious, and silvery impression, printed by Mr. Whistler, and signed 
with his 14 butterfly " signature. Framed in gray and ivory frame. 

This is the last print but one described by Mr. Wedmore in his catalogue of Mr. 
Whistler's etchings, and is a beautiful example of the Master's latest manner. 



ZORN, ANDERS L. 

Born at Mora, Sweden, in i860. 

" Near the extreme end of the range of the art in one direction — at the opposite 
pole to the subtile delicacies of a Whistler — I should put Mr. Zorn's bold, spirited, 
swiftly executed, yet completely satisfying works. . . Mr. Zorn's method at- 
tracts us in the sense that, while seemingly hasty and almost illogical, it proves itself 
magnificently adequate, and therefore skilful and artful in the highest sense." — Mrs. 
SciIUVLER VAN Rensselaer, " A Swedish Etcher " (Century Magazine, August, 1893). 

1502 — Mile. X. 

Signed artist's proof. An unusually fine impression. Unframed. 

This is one of the artist's best and rarest etchings. 

" Airily treated, but with a quite delicious spirit, grace, and humor." — Mrs. 
Schuyler van Rensselaer. 



Drawings 



RICHARD PARKES BONINGTON 

■ 

1503 — Waking on the Beach. 

Little more than a sketch, this picture represents Bonington's astonishing dex- 
terity in water colors. Some fisherfolk are grouped around a fire which 
has been lighted on the beach, apparently at Boulogne. In front of it a boy is 
on his hands and knees ; to his left a woman is sitting, and opposite to her 
another kneels, with her hands extended towards the flames, while at the back 
stands a man in a blouse and knitted cap. To the left of the party is a hill, 
and on the right a cottage. The effects of firelight gleaming on the figures 
and diffused through the gloom are rendered with delightful verve and subtlety, 
and yet with every suggestion of an impression rapidly noted. " Other mod- 
ern artists are perhaps more powerful and more accurate than Bonington," 
wrote his friend Delacroix, ' ' but no one in this modern school, perhaps no 
earlier artist, possessed the ease of execution which makes his works, in a cer- 
tain sense, diamonds by which the eye is fascinated and pleased, quite inde- 
pendently of the subject and the particular representation of nature." 

Signed at the lower right. R. P. Bonington. ? ^ g 




UNKNOWN 

1504 — The Tree of Life. 

At the foot of the allegorical composition the roots of a tree, twining between 
a distaff and spinning-wheel, afford lodgment for some children, one boy 
being engaged in watering their growth. Above the roots is poised the tall 
figure of an angel, scattering flowers, of which he holds a profusion in the 
folds of his robes. To the right some children are traversing the branches, 
driving lambs before them with reins, or holding up flowers, or blowing upon 
long horns, as they advance to meet a husbandman who carries a scythe over 
his shoulder and clasps a woman by the waist. Beside the latter figures are 
a mother with her babe, a grandmother, and some children. Among the 
branches on the left, boys are driving cranes, while one child pelts with flowers, 
and another pours water upon, the crouching figure of Old Time. Above the 
angel sport winged cupids, two of whom carry cages full of doves, and upon 
the highest point is perched a nest, with two doves sitting below it. 

Height. 37 inches; length, 5754 inches. 



THIRD EVENING'S SALE 
Thursday, January 29th, 1903 



BEGINNING PROMPTLY AT 8 O'CLOCK 



Fine Art and Other Books 



j 505 — Adam, Robert and James. 

Architecture, Decoration, and Furniture of. 26 plates. Folio, boards (loose in 
covers). 

London, 1880. 

2506 — Agassiz, Alexander. 

Three Cruises of the U. S. Coast and Geodetic Survey Steamer " Blake." Illus- 
trated. 2 vols., royal 8vo, cloth, gilt top. 

Boston, 1888. 

1507 — Albany. 

Description of the Pastoral Staff given to the Diocese of Albany in 1897. Illus- 
trated. Folio, half brown morocco. 

Boston, 1900. 

No. 101 of 150 copies printed. 

1 508 — Alexander, James W. 

Life of Archibald Alexander. Portrait. 1854. Discourses. 1858. 2 vols., 8vo, 
cloth. 

New York, 1854-58. 



1509 — Alison, Arch. 

History of Europe (1789-1815). 4 vols., 8vo, sheep. 



New York, 1843. 



1510 — Allen, J. R. 

Early Christian Symbolism in Great Britain and Ireland before the Thirteenth Cen- 
tury. Illustrated. 8vo, cloth. 

London, 1887. 

1511 — Allen, W. 

American Biographical and Historical Dictionary. Royal 8vo, half calf, gilt top. 

Boston, 1832. 

1512' — A lis ton, Washington. 

Life and Letters of. By J. B. Flagg. Portrait and reproductions from Allston's 
pictures. 8vo, cloth, gilt top, uncut. 

New York, 180.2. 



1513 — American Art Annual, l8g8. 
Illustrated. 8vo, cloth. 

1514 — Andrews, William Loring. 



New York, 1809. 



The Bradford Map: the City of New York at the time of the granting of the Mont- 
gomerie Charter: a description thereof to accompany a facsimile. Illustrated. 
8vo, cloth, uncut. 

New York, 1893. 

Only 142 copies printed. 



1515 — Angling. 

Piscatorial Reminiscences [bv Thomas Boosey] and Gleanings. By an old Angler 
and Bibliopolist. Frontispiece. Foolscap 8vo, cloth, uncut. 

Pickering, London, 1835. 

The Catalogue of Books on Angling, which concludes this volume, is by William 
Pickering, the publisher. 



151 G — Antiquary, The. 

Vols. XV.-XXII. 8 vols., 4to, half brown morocco. 



London, 1887-90. 



1517 — Appleton, Samuel. 

Memorial. Compiled by I. A. Jewett. Illustrated. 8vo, half red levant morocco, 
gilt edges. 

Boston, 1850. 

2518 — Appleton s Cyclopedia of American Biography. 

Edited by J. G. Wilson and J. Fiskc. Numerous portraits on steel. 6 vols., royal 
8vo, half brown morocco. 

New York, 1888-89. 

1519 — Archaological Institute of America. 

American Series: I.-II., 1881-84; Ot« P ( - L > l8 9°i IV., Pt. II., 1892; V., 
1890. Classical Series: I., 1882; II., 1898 (2 copies); also I. and III., 
1882 and 1890. American School of Classical Studies at Athens: I.-V., 
1882-92, with duplicates of II. and IV. First Report of Executive Com- 
mittee, 1880. Annual Reports, 1880-89, 1884-89, 1886-93, 1892-95. 
Bulletin I., 1883. Index, 1891. Together, 22 vols., 8vo, half calf or 
morocco, gilt top (1 vol. in boards, uncut). 

Boston and New York, 1880-98. 

1520 — Archeology. 

American Journal of Archeology and of the History of the Fine Arts. Vols. I. -XI. 
Second Series, I.-II. Illustrated. Together, 13 vols., royal 8vo, half calf 
extra, gilt top, uncut. 

Baltimore, Princeton, and Norwood, 1885-98. 

1521 — Architecture. 



Remnants of Old English Architecture. 35 plates by T. L. Worthington. Im 
perial 8vo, cloth. 

London, 1888. 



1522 — Argnani, Federigo. 
Le Ceramiche e Maioliche Faentine dalla loro origine fino al principio del secolo 

XVI. 20 colored (folded) plates. 4to, half calf. 

Faenza, 1889. 

No. 258 of 285 large paper copies. 

1523 — Arnold, Thomas. 

Life and Correspondence. By Arthur P. Stanley. Portrait. 2 vols., crown 8vo, 
half calf extra. 

London, 1868. 

1524 — Art. 

L'Art, revue hebdomadaire illustree. Illustrated with a large number of etchings, 
woodcuts, etc. 35 vols., royal folio, half brown morocco, gilt top, uncut. 

Paris, 1875-83. 

Complete from the commencement, and has extra set of plates. 



1525 — Art Handbooks. 

Illustrated Handbooks of Art History: English Painters, by H. J. Wilmot-Buxton 
1883. Sculpture, Renaissance and Modern, by Leader Scott, 1886. Paint- 
ing, Spanish and French, by G. W. Smith, 1884. Architecture, Classic and 
Early Christian, by T. R. Smith, 1886. Art Text Books: Architecture 
Gothic and Renaissance, byT. R. Smith, 1884. Classic and Italian Painting] 
by Poynter and Head, 1885. German, Flemish, and Dutch Painting, by 
Buxton and Poynter, 1886. 7 vols., crown 8vo, cloth. 

London, 1883-86. 



New York, 1886-87. 



1526 — Art Review, The. 
Vol. I., Nos. 1-5. 4to, brown levant morocco. 

1527 — Art Review, The. 

Numerous illustrations. Vol. I., Nos. 1-6. Vol. II., Nos. 1—4. 8 numbers in 
1 vol. 4to, half green morocco, gilt edges. 

New York, 1886-87. 

1528 — Art Sales {1628-1887). 

By George Redford. Illustrated. 2 vols., royal 4to, cloth, uncut. 

London, 1888. 

1529 — Athceneum, The. 

July, 1888-June 24, 1893. 11 vols., 4to, half brown morocco. 

London, 1888-03. 

1530 — Audsley and Bowes. 

Keramic Art of Japan. 32 plates, some colored. Royal 8vo, ornamental cloth 
gilt top, uncut. 

London, 1881. 

1531 — Audsley, George A. 

Ornamental Arts of Japan. Beautifully illustrated with plates in colors. 2 vols, 
(four parts), folio, brown levant morocco, inside borders, gilt edges. 

New York, 1882-84. 

No. 30 of 50 artist s proof copies. 



1532 — Azpurua, Ramon. 

Biografias de hombres notables de Hispano- America. Edited by General Francisco 
L. Alcantara. 4 vols., 8vo, half morocco. 

Caracas, 1877. 



1533 — Babe Ion, E. 

Cabinet des Antiques a la Bibliotheque Nationale. 60 plates, some colored, on 
Japan paper. Folio, brown levant morocco, gilt, gilt top, uncut. 

Paris, 1887. 

1534 — Bacon, Francis [Lord). 

Works, collected and edited by Spedding, Ellis, and Heath. Portrait. 15 vols., 
i2mo, cloth, uncut. 

Boston, 1861. 

1535 — Baird(Rev.) C. W. 

History of the Huguenot Emigration to America. Illustrated. 2 vols., 8vo, half 
calf extra, gilt top, uncut. 

New York, n. d. 

1536 — Baird, H. M, 

The Huguenots and Henry of Navarre. Maps. 2 vols., 8vo, cloth, gilt top. 

New York, 1886. 

1537 — Balzac. 

Contes Drolatiques. 425 illustrations by Dore. 8vo, half calf extra, gilt top, 
uncut. 

Paris, n. d. 

1538 — Bancroft, George. 

History of the United States of America. Portrait. 6 vols., 8vo, half calf, gilt 
top, uncut. 

New York, 1885. 

Author's last revision. 

j 539 — Bancroft, Hubert H. 

Native Races of the Pacific States of North America. Maps and illustrations. 5 
vols., 8vo, cloth. 

New York, 187S- 

— Bandello, Matteo. 
Novels of. Englished by John Payne. 6 vols., 41.0, vellum, gilt, gilt top, uncut 
edges. 

London, 1890. 

Printed for the Villon Society. 

1541 — Bartlett,J. 

Familiar Quotations. i2mo, cloth, gilt top, uncut. 

Boston, 1864. 

1542 — Bartolozzi, Francesco. 

Works. With a Biographical and Critical Account of his Life and Career, by A. 
W. Tuer. Numerous illustrations. 2 vols., 4to, parchment boards, gilt top, 

uncut - London [1881]. 



1543 — Barye, Antoine Louis. 

Life and Works of. By Charles dc Kay. 86 illustrations. 4to, vellum boards, 

uncut. vt. v i do 

New \ ork, 1880, 

No. 170 of 525 copies printed. 

1544 — Barye, Antoine Louis. 

Catalogue of Bronzes and Paintings of, etc., for the benefit of the Barye Monument 

Fund. Portrait. 4.to, vellum boards, uncut. XT v . 

T New York, 1890. 

Limited edition. 

1545 — Basilewsky Collection. 

50 plates, some colored. Folio, half red levant morocco, gilt top, uncut, by Ritter. 
No. 3 of no large paper copies. Paris, 1874. 

1 546 — Beattie, William. 

Castles and Abbeys of England. Illustrated with numerous engravings on steel and 
wood. 2 vols., royal 8vo, half green levant morocco, gilt top, uncut. 

London, n. d. 

1547 — Beaumarcliais, Caron de. 

Barbier de Seville. Manage de Figaro. Portrait and other etchings by Monzies 
after S. Arcos. 2 vols., i2mo, half red levant morocco, gilt top, uncut. 

Holland paper copy. Paris> l8Sz - 

1 548 — Benson, Eugene. 

From the Asolan Hills. 4to, half vellum, uncut. 

London, i8ot. 

Three hundred copies printed. 

1 549 — Berghem. 

A volume containing 60 fine copper-plate engravings, from original designs by 
Berghem, including many brilliant impressions. Imperial folio, half russia. 

1550 — Berlin Gallery. 

Die Gemalde-Galerie der Koniglichen Museen zu Berlin. Text by J. Meyer and 
W. Bode. With India proof illustrations of the famous plates. Folio, half 
brown morocco. 

Berlin, n d. 

1551— Berlin Gallery. 

68 fine photographs of the most brilliant paintings of this famous gallery. Imperial 
folio, half morocco. 



1552 — Bertrand du Guesclin. 

Life and Times of. A History of the Fourteenth Century. By D. F. Jamison. 
Portrait. 2 vols., 8vo, cloth, uncut. 

Charleston, S. C 1864. 

Printdd in England, but as most of the copies were captured on a blockade 
runner, dfring the Civil War. the book has drifted hither and thither, now common, 
now rare,' until it has taken its place, not as a rare book only, but as literature. 

1553 — Hamdy Bey and Reinach. 

Une Necropole Royale a Sidon. Four parts, imperial folio, of plates in boards, and 
4to volume of text unbound. 

Paris, 1892. 

\dd4 — Bible. 

[New Testament in Greek.] Engraved title after Mellan. Folio, old calf, back 
and sides covered with Jleurs-de-Iis, and the arms of Louis XIII. stamped on 
the sides, gilt edges (rubbed). N d 

The Earl of Aylesford's copy, with his bookplate. 

1555 — Binns, R. W. 

Century of Potting in the City of Worcester, being the history of the Royal Porcelain 
Works (1751-1851), etc. Illustrations. 8vo, half green morocco, gilt top, 
uncut. 

London. 1877. 

1556 — Blackburn, Henry. 

Breton Folk: an artistic tour in Brittany. 170 illustrations by R. Caldecott. 410, 
cloth, gilt edges. 

London, 1880. 

1557 — Boccaccio, G. 

Le Decameron. Illustrations by Jacques Wagrez. Translations and notes by Fran- 
cisq tie Reynard. 3 vols., 4to, half red levant morocco, gilt top, uncut edges, 
by David. p ar ; Si ,890. 

Edition de luxe. 

1558 — Boethius, 

Consolation of Philosophy. Translated by George Colville, 1556. Edited by E. B. 
Bax. Imperial 8vo, boards, uncut. Nutt> L on d n, 1897. 

No. 15 of 30 large paper copies. 

1559 — Bologne, Jean. 

La Vie ct l'CEuvre. Par Abel Desjardins. Edited by F. de Vagnonvillc. 22 plates, 
besides illustrations in the text. Folio, maroon levant morocco, gilt, gilt 

ed g es - Paris, 1883. 

No. 49 of 50 copies, with a second set of proofs on Japan paper. 



15(H) — Borbonico Museum. 

Real Museo Borbonico. Over 525 plates in outline. 6 vols., 8vo, half red morocco. 

[N. p., n. d.J 

1561 — Bossuet,/. B. 

Oraison Funebre du Grand Conde. Portrait and 3 engravings. 4to, half brown 
morocco extra, gilt top, uncut. 

Paris, 1879. 

No. 176 of 300 copies on Holland paper. 

1562 — Bossuet, J. B. 

Oraisons Funebrcs ct Sermons Choisis. 12 steel engravings. Royal 8vo, brown 
levant morocco, inside borders, gilt edges. 

Paris, n. d. 

1 563 — Boston. 

Sketch Book of the Architectural Association of Boston. 30 plates loose in folio 
cloth wrappers. 

[Boston], 1883. 

No. 97 of 300 copies printed. 

1564 — Bouchot, H. 

Cent Modeles inedits de l'Orfevrerie Francaisc des XVII' et XVIII' siecles, exe- 
cutes par les orfevres — sculpteurs royaux N. de Launay, J. J. Roettiers, T. 
and F. T. Gcrmains, et reproduits d'apres les dessins originaux de la Biblio- 
theque Nationale. 60 plates. Folio, half green morocco extra, gilt top, 
uncut. 

Paris, n. d. 

1565 — Bowes,/. L. 

Japanese Pottery. With notes descrihing the thoughts and subjects employed in its 
decoration, and illustrations from examples in the Bowes Collection. Maps 
and 67 plates (some colored). Royal 8vo, half green levant morocco, gilt 
top, uncut (cover slightly broken). 

Liverpool, 1890. 

Printed on Japan paper. 

1566 — Bowes, J. L. 

Vindication of the Decorated Pottery of Japan. Plates (some colored). Royal 8vo, 

boards. 

Liverpool, 1891. 

Privately printed. Presentation copy from the author. 

15G7 — Bowes,/. L. 

Notes on Shippo: A Sequel to Japanese Enamels. Plates. Royal 8vo, half cloth, 
gilt top, uncut. 

London, 1805. 

Presentation copy from the author. 



1568 — Brantome. 

Les Sept Discours touchant les Dames Galantes. Edited by Henri Bouchot. Por- 
trait and other illustrations after E. de Beaumont. 3 vols., i2mo, half red 
levant morocco, gilt top, uncut. 

Paris, 1882. 

Holland paper copy. 

1569 — Brassington, W. Salt, 

Historic Bindings in the Bodleian Library, Oxford. 24 reproductions. 4to, half 
green morocco, gilt top, uncut. 

London, 1891. 

1570 — Breviary. 

Breviarium Romanum cum Psalterio proprio et officiis sanctorum ad usum cleri 
Basilicas Vatican<e. dementis X. auctoritate editum. Engraved frontispiece. 
Title (mounted) by J. Nolin, and four plates by Nolin, Spiere, and Roullet. 
4to, old red morocco, covered with a floral design (rubbed). Paris 1674 

Pages 347-492 in the first part lacking; pages 636-762 at the end, in facsimile. 
Inserted engravings. 

1571 — Brimmer and Chapman. 
Egypt. Three Essays. Illustrated. Royal 8vo, green ooze calf, uncut. 

Boston, 1892. 

1572 — British Artists. 

19 facsimiles in imitation of the original water-color drawings after paintings by 
Turner, Stanfield, Prout, Collins, Nicholson, etc. 2 vols., folio, boards. 

London, 1828. 

1573 — British Poets. 

Milton, 3 vols. ; Spenser, 5 vols. ; Young, 2 vols. ; Dryden, 5 vols. ; Thomson, 2 
vols. ; Chaucer, 6 vols. ; Burns, 3 vols. ; Swift, 3 vols. ; Churchill, 2 vols. ; 
Prior, 2 vols. ; Butler, 2 vols. ; Cowper, 3 vols. ; Pope, 3 vols. One vol. 
each of Goldsmith, Akenside, Falconer, Gray, White, Shakespeare, Howard, 
Parnell, Wyatt, Beattie, and Collins. Portraits. Together, 52 vols., crown 
8vo, half calf extra. 

London. 1866. 

No. 16 of 250 copies printed before stereotyping. 

I574. — Brooke (Sir) Arthur De C. 

Sketches in Spain and Morocco. Illustrated. 2 vols., 8vo, half sprinkled calf extra. 

London, 1831. 

1575 — Brown, John (M.D.). 

Horse Subsecivae, 1864. Locke and Sydenham, 1866. 2 vols., i2mo, half calf 
extra, gilt top, uncut. 

London, 1864-66. 



157G — Brown [Major) R. H. 

The Fayum and Lake Moeris. Notes by Colonel Sir Colin Scott-Moncrieff. Illus- 
trations. 4to, cloth, uncut. 

London, 1802. 

1577 — Brunswick Museum. 

Vorzuglichsten Gemalde des Herzoglichen Museums zu Braunschweig, herausge- 
geben von Herman Riegel. 100 photogravures. 4to, brown levant morocco, 
gilt top, uncut. 

Berlin, 1885. 

1578 — Bryant Festival at the " Century." 

Illustrated by 20 inserted portraits, etc. 4to, half green morocco, gilt top, uncut. 

No. 82 of 150 copies printed. New York - l86 5- 

1579 — Buck, J. H. 

Old Plate, Ecclesiastical, Decorative, and Domestic; its Makers and Marks. 82 
illustrations. 8vo, cloth, silver top. 

New York, i£ 



1580 — Bunyan, J. 

Pilgrim's Progress. Portrait. 40 illustrations by D. Scott, 8vo, maroon morocco, 
antique, gilt edges. 

Edinburgh, n. d. 

1581 — Bunyan, J. 

Pilgrim's Progress. 100 illustrations by F. Barnard and others. Engraved by 
Dalzicl Brothers. 4to, half vellum, gilt top, uncut. London 1880 

Edition dc luxe. No. 219 of 500 large paper copies, with proofs on Japan paper. 

1582 — Burke, Edmund. 

Works. Portrait. 12 vols., i2mo, cloth, uncut. 

Boston, 1865-67. 

1583 — Burlington Fine Arts Club. 

Catalogues for 1868-75, 1876-79, 1880-86, 1887-90. 4 vols., royal 410, half 
blue morocco, gilt top. 

London, 1868-90. 

1584 — Burlington Fine Arts Club. 

Description of English and Continental Porcelain exhibited June, 1873. 18 photo- 
graphs. Royal 4to, half blue calf, gilt edges. 

London, 1873. 



1585 — Burlington Fine Arts Club. 

Catalogue of Bronzes and Ivories. 1879. Numerous illustrations. 4to, half 

morocco. 

London, 1879. 

1586 — Burlington Fine Arts Club. 

Illustrated Catalogue of Specimens of Persian and Arab Art. 1885. 32 illustrations. 
Royal 4to, half green morocco. 

London, 1885. 

1587 — Burlington Fine Arts Club. 

Catalogue of Objects of Greek Ceramic Art. Numerous plates. 4to, half blue 
levant morocco, gilt top. 

London, 1888. 

1588 — Burlington Fine Arts Club. 

Exhibition of Portrait Miniatures. 36 plates. Royal 4to, half blue morocco extra, 
gilt top. 

London, 188o. 

1589 — Burlington Fine Arts Club. 

Exhibition of Book Bindings. 114 plates, mostly colored. Royal 4to, green levant 
morocco, gilt panels and edges, by Zaehnsdorf. 

London, 1891. 

1590 — Burlington Fine Arts Club. 

Exhibition of Book Bindings. Royal 4to, half red levant morocco, gilt top. 

London, 1801. 

2591 — Burlington Fine Arts Club. 

Exhibition of Pictures by Masters of the Netherlandish and Allied Schools, etc. 29 
plates. Royal 4to, brown levant morocco, gilt back and sides, gilt top, uncut 
edges, by Zaehnsdorf. 

London, 1892, 

1592 — Burlington Fine Arts Club. 

Art of Ancient Egypt. 39 plates. Royal 410, cloth. 

London, 1895. 

Privately printed. 

1593 — Burlington Fine Arts Club. 

Catalogue of Collection of European Enamels from earliest date to end of seventeenth 
century. 72 plates, some colored. Royal 4to, cloth, uncut. 

London, 1897. 

Large paper copy. 



1594 — Burne-Jones, Edward. 

Record and Review. By Malcolm Bell. Numerous illustrations. Folio, cloth, gilt 
top, uncut. 

London. 1802. 

1595 — Burnet, John. 

Treatise on Painting. Numerous plates, some colored. 4*0, half brown morocco, 
gilt top, uncut. London. 1880. 

The four parts complete. 

1596 — Burty, Philippe. 

Chefs-d'CEuvre des Arts Industriels. 200 wood engravings. Royal 8vo, half red 
morocco, gilt edges. 

Paris, n. d. 

1507— Butler, W. A. 

Nothing to Wear: An Episode of City Life. Illustrated by Hoppin. nmo, cloth. 

First edition. New Y ork. 1857. 

1598 — Byron (Lord). 

English Bards and Scotch Reviewers. Square 8vo, green levant morocco, inside bor- 
ders, gilt edges, by Bain. London, 1810. 

Unkpte copy. Text inlaid to square 8vo. and extra illustrated by the insertion 
of 176 portraits, views, etc., some of which are on India paper, and some colored; 
the latter including a brilliant portrait of Madame Catalani. 

1599 — Cairo/, Elie. 

Voyage en Grece, 1889: notes et impressions. 21 plates and 5 plans. 4to, half 
blue morocco, gilt top. Paris ^ 

500 copies printed. 

1600 — Campana, Gio. Pietro. 

Antichc Opere in Plastica. 68 plates. 4-to, half brown morocco, gilt back and 
sides, gilt top. 

Rome. 184.2. 

1601 — Cartault, A. 

Terres Cuites Grecques photographiees d'aprcs les originaux des collections privees de 
France ct des Musces d'Athenes. 2Q plates. 4to, half brown levant morocco, 
gilt top. 

Paris, n. d. 

1602 — Castellani, Alessandro. 

Catalogue des Objets d'Art. Illustrated. 4-to, half calf extra, gilt top, uncut. 

Paris. 1S84. 



ues 



!6()3__t Aspinwall Gallery. New York, 1886. G. F. Watts in New York Royal 
Academy. 1888. II. Castellani Collection. New York, 1877. Collection 
of M. H. Roussel. Paris, 1885. Illustrated. 2 vols., 8vo, half brown 
morocco, gilt top. 

1('»()4 - Residence a Amsterdam, etc., Galeric dc M. 1 J . J. de Naples. Collection 
Richards. 3 vols, in 1, 4-to, half blue morocco extra, gilt top. R ome> ,883-90. 

1605 — Pedestal Fund Art Loan Exhibition. 410, half brown morocco, gilt top. 

New York. 1883. 

— Collection Photiades Pacha. Paris, 1890. Illustrated. Galerie de M. 
Toscanelli. Florence, 1883. 2 vols, in 1, 4to, half blue morocco extra, gilt 
top, uncut. 

2g07 Fountaine Collection of Majolica. Photographs. 1884. Passalaqua Col- 
lection. 1885. Royal House of Stuart. N. d. Historical Paintings and Relics. 
New York, 1889. 4 vols., crown 8vo, and 8vo, half brown morocco, gilt top. 

London, etc., 1884-89. 

1(508 Collection Meazza de Milan. 1884. Santo Varni di Gcnova, 1887. 

Hamilton Collection, London, 1889. Peinture Grecque . . . de Cleopatre. 
Paris, 1889. 3 vols, in 1, royal 8vo, half brown morocco extra, gilt top. 

1609 Grosvcnor Gallery. Engravings of Charles Tennant. London, 1884. Royal 

House of Tudor, 1890. 2 vols., 410, half brown morocco, gilt top. 

London. 1884-90. 

JglO Pictures, etc., of C. B. Denison. Illustrated. 8vo, half blue levant morocco 

extra, gilt top, uncut. . [London. 1885. 1 

|(311 Library, etc., of H. Cole, etc. Illustrated. 1890. Paint and Clay Club, 

etc., 1885. Illustrated. A. L. Barye. Portrait. 3 vols, in 1, 4to, half brown 
morocco, gilt top, uncut. Boston and New York. 1885-90. 

Collection de Charles Stein. Illustrated. 4to, half brown morocco, gilt top, 

uncut. Paris. 1886. 

1613 Collection de M. Ch. Stein, 1886. Museum of Fine Arts. Casts from Greek 

and Roman Sculpture, by E. Robinson. Boston, 1887. Collection de M. A. 
Tollin. 1889. 3 vols, in I, i2mo, half green levant morocco, gilt top. 

Paris and Boston, 1886-89. 



1614 — Collection Perkins. Paris, 1890. Collection H. Hoffmann. Paris, 1888. 
Collection Alberici. Rome, 1886. (AH illustrated.) 3 vols, in I, 4*0, half blue 
morocco, gilt top. 

1615 — Engravings of Duke of Bucclcuch, 1887. Exposition Universelle, 1889, etc. 
3 vols, in 1, 8vo, half brown morocco, gilt top. 

1616 — Mezzotint Engravings of J. C. Smith. 1887. Engravings, etc., of G. W. 
Reid. 1890. 2 vols, in I, royal 8vo, half brown morocco, gilt top. 

London, 1887-90. 

J 01 7 — Ancient Marbles at Lansdowne House. Royal 8vo, half brown morocco, gilt 
top- London, 1889. 

1618 Art Collection of E. Joseph. Illustrated. 8vo, half brown levant morocco, 

g il( to P- London, 1890. 

1619 — Collection Perkins. Illustrated. 41.0, half red levant morocco, gilt top, 
uncut. Paris [1890]. 

1620 — Collection de M. G. Rothan. Illustrated. 4to, half green morocco, gilt top, 
uncut. Paris, 1890. 

1621 — Collection of Prosper Crabbe of Brussels. Illustrated. 410, half brown 
morocco, gilt top, uncut. Paris, 1890. 

1622 — Aquarelles (Jhr. W. C. M. de Jonge van Ellemeet). Illustrated. 8vo, 
half brown morocco, gilt top. Amsterdam, 1890. 

1 623 — Objcts d'Art. Collection de M. L. de M. Illustrations. 410, half levant 
morocco, gilt top, uncut. Paris. 1891. 

1 624 — - Villa Salviatino, Florence. 1 89 1 . Tableaux, etc., de E. van Marcke. Paris, 
1891. Collection John Saulnier. 1892. All illustrated. 3 vols, in I , royal 8vo, 
half brown levant morocco extra, gilt top. 

1625- Katalog der hoech'schcn Sammlung von Gemildcn alter Mcister. Heraus- 
gegeben von J. Th. Schall. 77 llustrations. 410, half brown levant morocco, 
gilt top. Munich, i8oj. 

]<;26 — Lawrie Collection. Illustrations. 410, half brown levant morocco, gilt top. 

Paris, 1893. 

1027 — Marbres Antiques, etc.: Musee du Pavilion de L'Horloge a la Villa 
Borghese. Illustrated. 4to, half brown morocco, gilt top. Rome. 1893. 



1628 Collection of oil paintings and water-color drawings of T. E. Waggaman. 

i2mo, half blue morocco, gilt top. DeVinne, New York, 1893 

1629 — Pictures, Porcelain, etc., of Mrs. Lyne Stephens. Illustrated. Royal 8vo, 
half calf, gilt top. London, 1895. 

1630 — Collection de M. D. de G. 4-to, half brown levant morocco, gilt top, uncut 
edges. Paris> 1895, 

1631 — Collection Ploquin. Illustrated. Royal 8vo, paper, uncut. 

Paris, 1896. 

1632 — Collection de M. Emile Gavet. Illustrated. 410, half brown morocco, gilt 
top, uncut. Paris l8o7 

1633 — Collection des Goncourt. Illustrated. 4to, half brown levant morocco, gilt 
to P- Paris, 1897. 

1634 — Pictures belonging to R. Hall McCormick. 1897. Illustrated. 4to, half 
brown levant morocco, gilt top, uncut. 

No. 95 of 200 copies printed, with plates on Japan paper. 

1635 — Collection du Baron Jerome Pichon. Imperial 8vo, half brown morocco, gilt 
top, uncut. p ar i Si ,897 

2630 — Cattermole Gems, The. 

25 plates. Folio, half red levant morocco, gilt top, uncut. London, n. d. 

1637— Cellini, Berrcenuto. 

Recherchcs sur sa vie, sur son ccuvre et sur les pieces qui lui sont attributes, par 
Eugene Plon. Profusely illustrated. Etchings by Paul Le Rat and others. 
2 vols., 4to, red levant morocco, gilt back and sides, gilt edges. 

No. 70 of 100 copies, with plates in three states, Paris, 1883. 

1638 — Cellini, Benvenuto. 

Life of. By J. A. Svmonds. With a portrait and eight etchings by Laguillermte, 
etc. 2 vols., royal 8vo, half brown levant morocco, gilt top, uncut, by 
Stikeman. London, 1888 

Large paper copy. No. 80 of 100 copies printed with etchings as India proofs. 

1(539 — Cesnola Collection of Cypriote Antiquities. 

Sculptures. 1 50 plates. 1885. Terra-cottas and Pottery. 150 plates. 1894. 
4 vols., 410, half brown morocco. Boston and New York ,885-94. 



1640 — Charvet Collection. 

La Vcrrcric Antique. Par W. Froehner. 34 plates, some beautifully colored. 
Folio, half brown morocco, gilt top, uncut. 

Lc Pecq. 1879. 

1641 — Chateau d'Anet. 

Histoire et description dc: depuis le dixieme siecle jusqu'a nos jours. Contenant 
une etude sur Diane de Poitiers. 53 plates, some colored. Folio, half blue 
levant morocco, gilt top, uncut. 

Paris. 1875. 

1642 — Chevigne {Comte) de. 

Contes Remois. Preccdee de la Muse Champenoise par Louis Lacour. Etchings 
by Paul Rajon after J. Worms. i2mo, half green levant morocco, gilt top, 
uncut. 

Paris, 1877. 

1643— Child, Frank S. 

An Old New England Town [Fairfield, Conn.] : Sketches of Life, Scenery, Char- 
acter. Illustrated. 8vo, half red morocco, gilt top, uncut. 

New York, 1895. 

Edition de luxe. No. 184 of 300 copies, with illustrations on Japan paper. 

1644 — China. 

Punishments of. Illustrated by 22 engravings, with explanations in English and 
French. Folio, green straight grain morocco, gilt edges. 

London, 1801. 

1645 — Chintreuil, Antoine. 

La Vie et 1'CEuvre de. Par A. de la Fizeliere, Champfleurv, F. Henriet. 4c 

etchings by Martial, Bcauverie, Taiee, Ad. Lalauze, and others. Folio, half 

red morocco, gilt top, uncut. D . 

"arts, 1074- 

No. 9 of 50 proof copies printed. 

1 646 — Chippendale. 

Ornaments and Interior Decorations in the Old French Style. 57 plates engraved 
by M. Lock. Folio, half morocco. 

London, n. d. 

1047 — Clark, E. L. 

Daleth; or, the Homestead of the Nations. Illustrated. 8vo, cloth, gilt top, 
uncut. 

Boston, 1864. 

1648 — Cleopatra. 

Antique Painting in Encaustic of Cleopatra. (By John Sartain.) Illustrated. 
Royal 8vo, cloth. Philadelphia. ,885. 

Presentation copy from the author. 



1649 — Cleuziou, Henri de. 

De la Poterie Gauloise. Etude sur la Collection Charvet. Illustrated. Royal 8vo, 
half calf extra, uncut. 

Paris, 1880. 

1650 — Collier, J. Payne. 

Bibliographical and Critical Account of the Rarest Books in the English Language. 
4 vols., i2mo, half blue calf extra, gilt top, uncut. 

New York, 1866. 

1651 — Colonna, Francesco. 

Strife of Love in a Dream. Being the Elizabethan version of the first book of the 
Hypnerotomachia. Edited by Andrew Lang. Royal 8vo, half blue levant 
morocco extra, gilt top, uncut. 

Nutt, London, 1890. 

No. 45 of 60 large paper copies. 

1652 — Columbus. 

Letter of Columbus on the Discovery of America. 8vo, blue levant morocco, gilt 
back and sides, gilt top, uncut. 

New York. i8qj. 

Presentation copy from the Trustees of Lenox Library. 

j 653 — Constable, John. 

Memoirs of the Life of : composed chiefly of his letters. By C. R. Leslie. Fine 
mezzotint portrait and 22 landscapes. Folio, half brown morocco, uncut. 

London, 1843. 

1654 — Constable, John. 

English Landscape Scenery. A series of 40 mezzotint engravings on steel, by D. 
Lucas, from pictures painted by J. Constable. Folio, half red morocco, uncut. 

London. 1855. 

1655 — Constantinople. 

Alt-Christliche Baudenkmale von Constantinopel, vom V. bis XII. Jahrhundert; von 
W. Salzenberg. 38 plates. Imperial folio, boards (loose in covers). 

Berlin, 1855. 

jg56 — Conybeare and Hon- son. 

Life and Epistles of St. Paul. Illustrated. 2 vols., 8vo, half maroon morocco, gilt 
top, uncut. 

London, 1856. 

2657 — Cooke, George Fred. 

Life. By William Dunlap. Portrait. 2 vols., 8vo, calf extra, gilt edges, by Tout. 

London, 1815. 

Unique copy, extra illustrated by the insertion of 86 plates. 



1 658 — Cooper, James Fenimore. 

Novels. Illustrated by the designs of Darley, engraved on steel, and printed on 
India paper. 33 vols., 8vo, cloth, gilt top, uncut. 

New York. n. d. 

The original Townsend edition of Cooper is now so difficult to procure, that this 
substitute is the next best possible. Whether or no the typography is better, the 
paper is assuredly an improvement on the glazed and tinted surface of the earlier 

edition. 

No. 490 of i.ooo copies printed. 

1C59 — Copley, J. S. 

Domestic and Artistic Life of. By his granddaughter, Martha B. Amory. Portrait. 
8vo, cloth, uncut. 

Boston. 1882. 

1660—" Cornwall, Barry" [Proctor, B. fV.\ 

Charles Lamb : A Memoir. Portraits. 8vo, half calf, gilt top, uncut. 

London, 1866. 

1661 — Costumes. 

Costume of the Hereditary States of the House of Austria. 50 colored engravings, 
with descriptions and introduction by B. de Molcville. Translated by R, C. 
Dallas, 1804. Costume of China. 60 colored engravings. 1800. Military 
Costume of Turkey. 30 plates. 1818. 3 vols., folio, green straight grain 
morocco, back and sides gold and blind tooled, gilt edges. 

London, :8oo-l8. 

1662 — Costumes. 

Modes et Costumes Historiques. Par Pauquet Freres. 96 colored plates. 4to, half 
brown morocco, gilt top, uncut. 

Paris, n. d. 

166tS — Cotman and Turner. 

Architectural Antiquities of Normandy. Numerous plates. 2 vols., folio, half red 
levant morocco, gilt top, uncut. 

London. 1822. 

1664 — Cripps, W.J. 

Old English Plate, Ecclesiastical, Decorative, and Domestic ; its Makers and Marks. 
73 illustrations. 8vo, cloth, uncut. 

London, t8Sl. 



1665 — Crouch, Mrs 

of. By M 
top, uncut, 

London, 1806 

Unique copy, extra illustrated by the insertion of 100 plates. 



Memoirs of. By M. J. Young. Portrait. 2 vols., post 8vo, sprinkled calf extra, 
gilt top, uncut, by Pratt. 



1606 — Crowe and Ca-calcaselle. 

History of Painting in Italy. Numerous illustrations. 3 vols., calf extra, gilt 
edges, by Bickers. 1864. History of Painting in North Italy. Illustrated. 
2 vols., calf extra, gilt edges, by Bickers. 187 1. Titian, his Life and Times. 
Illustrated. 2 vols., half green calf extra, gilt top, uncut. 1877. Together, 
7 vols., 8vo. (Will be sold separately.) 

London, 1864-77. 

2667 — Cundall, Joseph (editor). 

On Bookbindings Ancient and Modern. 28 plates. 4to, half brown morocco, gilt 
top. 

London, 1881. 

2668 — Custis, G. W. P. 

Recollections and Private Memoirs of Washington. Memoir of the author by his 
daughter. Notes, etc., by B. J. Lossing. Portraits, etc., including one of 
Washington. 8vo, half calf antique. 

New York, i860. 

1669 — Cyclopedia of Painters and Painting. 

Edited by J. D. Champlin and C. C. Perkins. Over 2,000 illustrations. 4 vols., 

4to, half red morocco, gilt top, uncut. New y orki x 886-87. 
No. S3 of 500 copies. 

2670 Cyclopedia of Works of Architecture in Italy, Greece, and the 

Levant. 

Edited by W. P. P. Longfellow. Profusely illustrated. 4to, half red morocco, gilt 

top, uncut. New York, 1895. 
No. 19 of 500 copies. 

2671 — Daly, Cesar. 

L' Architecture Privee au XIX" Siecle sous Napoleon III. Nouvelles Maisons de 
Paris et des Environs. Numerous plates. 3 vols., 1864. Motifs Historiques 
d' Architecture et de Sculpture d'Ornement. Decorations Exterieures em- 
pruntees a des Monuments Francais du Commencement de la Renaissance a la 
fin de Louis XVI. Nearly 200 plates. 2 vols. Decorations Interieures. 200 
plates. 2 vols., 1880. Together, 10 vols., folio, half red morocco, gilt top, 
uncut. 

Paris, 1864, 1881, 1880. 

1672 — Dante. 

Divine Comedy. Illustrations by G. Flaxman. no plates. Oblong 410, half 
vellum. 

Rome, 1802. 

2073 — Daphnis and Chloe. 

Translated from Amyot's text by Arzel Day. Edited by Jos. Jacobs. Imperial 
8vo, half calf extra, gilt top, uncut. London, 1800. 

No. 45 of 60 copies printed. 



1074 — D ' Arblay {Madame) Fanny Burney. 

Diary and Letters. Edited by her niece, Charlotte Barrett. Portraits. 4 vols., 

tivo, half calf extra. 

London, n. d. 

1675 — D'Aunloy (Mme.). 

Contes des fees ou les fees a la mode. Preface by M. de Lescure. Frontispieces 
by Lalauze. 2 vols., nmo, half blue morocco, gilt top, uncut. 

Paris. 1881. 

1676 — D'Avennes, Prisse. 

L'Art Arabe d'apres les monuments du Kairc depuis le VII* siecle jusqu'a la fin 
du XVIII'. 410, half red morocco, gilt top, uncut, with the magnificent 
plates, many of them in colors, in an atlas, folio volume (2 vols, in 1), blue 
morocco extra. Together, 2 vols. 

Paris, 1877. 

1677 — Defoe, Daniel. 

Life and Adventures of Robinson Crusoe. Portrait, etchings, and engravings, after 
Stothard. 2 vols., 8vo, half morocco, gilt top, uncut. 

Philadelphia, 1891. 

1018 — Delaborde, Henri. 

Les Maitres Florentins du quinzieme siecle. 30 designs after the original paintings, 
etc., in the collection of M. Thiers. Imperial folio, half maroon morocco 
OttOU Paris, n. d. 

One of 50 copies, with plates in three states — colored, red. and Japanese proofs. 

1679 — Demoustier, C. A. 

Lettres a Emilee sur la mythologie. Preface by Paul Lacroix. Frontispieces by 
Lalauze. 3 vols., i2mo, half blue morocco, gilt top, uncut (original covers 
bound in). 

Paris, 1883. 

1680 — Detail le, Edouard. 

Types et Uniformes: 1'Armee Francaise. Text by Jules Richard. Numerous 
colored plates, besides text illustrations. 2 vols., folio, morocco extra, gilt 
top. 

Paris, 1885-89. 

1681— Deville, Achille. 

Histoire de l'Art de la Verrerie dans l'Antiquite. 112 colored plates. 4to, red 
levant morocco, gilt back and sides, gilt edges. 

Paris, 1871. 

1682 — Dibdin, Thomas F. 

Bibliographical, Antiquarian, and Picturesque Tour in France and Germany. Fine 
plates. 3 vols., 8vo, half maroon calf extra, gilt top, uncut. 

London, 1829. 



1CB3 — Dibdin, Thomas F. 

Reminiscences of a Literary Life. Portrait. 2 vols., 8vo, tree calf extra. 

London, 1836. 

Contains the scarce index. Autograph letter inserted. The Odell copy. 

1 684 — Dickens, Charles. 

Works. With all the original illustrations by Cruikshank, Phiz, and others. 30 
vols., royal 8vo, half brown levant morocco extra, gilt top, uncut. 

Edition de luxe, only 1,000 copies printed. London, 1881-82. 

1685 — Ditch, Henry. 

Life, Times, and Scientific Labours of the Second Marquis of Worcester, etc. 
Portrait. 8vo, half green morocco, gilt top, uncut. 

London. 1865. 

jggg — Disraeli, Isaac. 

Curiosities of Literature. Life, etc., by his son. Portrait. 4 vols., i2mo, half 
red calf extra, gilt top, uncut. 

Boston, 1858. 

1687 — Dobson, Austin. 

Horace Walpole: A Memoir. Illustrations by Percy and Leon Moran. Royal 
8vo, half brown morocco extra, gilt top, uncut. 

New York, 1800. 

No. 124 of 425 large paper copies on Dickinson paper. 

2688 . — Dobson, Austin. 

William Hogarth. Illustrated. 8vo, blue levant morocco, gilt back and sides, 
gilt top, uncut. 

New York. 1891. 

2fig9 — Dobson, W. T. 

Classic Poets: their Lives and their Times, with the Epics Epitomised. Crown 
8vo, cloth, uncut. 

Lpndon. 1879. 

yffiO—Doolittle (Rev.), J. 

Social Life of the Chinese. Over 150 illustrations. 2 vols., i2mo, cloth. 

New York, 1865. 

— Dorf, Gustave. 

Legend of the Wandering Jew. Plates by Dore. Translation by G. W. Thorn- 
bury. Folio, half morocco (loose in covers). 

London, 1857. 

]092- — Doyle, James E. 

Chronicle of England B.C. 55-A.D. 1485. Colored illustrations. 4to, cloth extra, 
gilt edges. 

London, 1864. 



1693 — Draper, J. W. 

History of the Intellectual Development of Europe. 8vo, calf, gilt. 

New York, 1863. 

1 694 — Dresser, Christopher. 

Japan : Its Architecture, Art, and Art Manufactures. Illustrated. 8vo, tree calf, 
gilt edges. 

London, 1882. 

1 695 — Duplessis, Georges. 

Histoire de la gravure en Italic, en Espagne, en Allemagne, dans les Pays-Bas, en 
Angleterre, et en France, etc. 73 reproductions. Royal 8vo, half brown 

morocco, gilt top, uncut. 

Paris. 1880. 

1 696 — Durand, John. 

Life and Times of A. B. Dura/id. JUustrated. 4to, cloth, gilt top, uncut. 

New York, 1894. 

One of 100 copies on large paper, with portraits on Japan paper. 

1697 — Durer, Albert, et ses Dessins. 

Par Charles Ephrussi. Numerous plates. 410, half brown levant morocco, gilt 
top, uncut. 

Paris, 1882. 

No. 71 of 100 copies on Holland paper, with the more important plates in 
duplicate. 

1698 — Ditrer, Albert. 

La Vie de la Sainte Vierge Marie, decrite en vers Latins par Chelidonius. Intro- 
duction de Ch. Ruelens. 20 wood engravings. 410, half brown levant 
morocco, gilt top, uncut. 

Utrecht, n. d. 

1699 — Dutuit, Eugene. 

Manuel dc I'Amateur d'estampes. Vol. L, Introduction Generale, 1884-88. 2 
vols. Vol. IV., 1881. Vol. V., 1882. Vol. VL, 1885. Portrait. 
Together 4 vols, in 5, imperial 8vo, boards, uncut. 

Paris, 1881-88. 

With 37 zylographic plates (separate). 

1700— Dyer, T. H. (editor). 

Pompeii: Its History, Buildings, and Antiquities. Illustrated. 8vo, calf, gilt. 

London, 1871. 

1701 — Eaton, Daniel E. 

Ferns of North America. Numerous colored plates. 2 vols., 410, half red levant 
morocco, gilt top, uncut. 

Salem, 1870-80. 



1702 — Edersheim, A. 

Life and Times of Jesus the Messiah. 2 vols., 8vo, half brown levant morocco, 
gilt top, uncut. 

New York, n. d. 

1703 — Edwards, Rev. B. B. 

Encyclopedia of Religious Knowledge. Illustrated. Royal 8vo, sheep. 

Brattleboro, 1836. 

1704 — Eg}'P f Exploration Fund. 
Naukratis. Parts I. and II., 1884-86, by W. M. F. Petrie, etc. 68 plates. 1886. 

Tanis. Parts I. and II., 1883-86, by Petrie and Griffith. 28 plates. 
1889-88. Nebesheh (Am) and Defenneh (Tahpanhes) by Petrie, Murray, 
etc. 51 plates. 1888. Bubastis (1887-89), by E. Naville. 54 plates. 
1891. Festival Hall of Osorkon II. in the Great Temple of Bubastis (1887- 
89), by E. Naville. 40 plates. 1892. Beni Hasan, Part I., by P. Newberry. 
49 plates. 1893. vo ' s - m 4» + to > half ma roon levant morocco, gilt top, 
uncut. 

London. [886-93. 

1705— Egypt Exploration Fund. 

Archaeological Reports, 1892-95. Illustrations and maps. 3 vols., 410, paper. 

London. 1892-95. 

2 "706 — Egypt Exploration Fund. 

Beni Hasan, Part I., by P. E. Newberry. 49 plates. Temple of Deir el Bahari, 
by E. Naville. 14 plates. 2 vols., 4to, boards. 

London. 1893-04. 

1707 — Eliot, George. 

Romola. 2 vols., i2mo, vellum gilt, red edges. 

Leipzig, 1863- 

Unique copy, extra illustrated by the insertion of 70 photographs. 

1708 — Eliot, George. 

Romola. Illustrations bv Sir F. Lcighton. 2 vols., royal 8vo, half brown morocco, 
gilt top, uncut. 

London, 1880. 

No. 517 of 1,000 copies printed, with illustrations on India paper. 

2709 — Emerson, Ralph Waldo. 

Complete Works. Portrait, etc., on India paper. 12 vols., 8vo, half calf extra, 
gilt top, uncut. 

Cambridge, 1883-93. 

Edition de luxe. Only 500 printed. No. 428. 



17 10— Emerson, Ralph Waldo. 

Memoir of. By J. E. Cabot. Portrait. 2 vols., 8vo, half brown morocco, eilt 
top, uncut. 

Cambridge, 1887. 

No. 428 of 500 copies on large paper. 

1711 — Encyclopedia Britannica. 

A Dictionary of Arts, Sciences, and General Literature. Numerous illustrations. 
22 vols., 4*0, half red levant morocco, gilt edges. Includes the index. 

Boston, 1859-60. 

1712 — English Art in the Public Galleries of London. 

Upwards of 100 illustrations. Proofs on India paper. Folio, morocco extra, gilt 
top. 

London, 1888. 

1713 — Fagan , Louis. 

History of Engraving in England. Illustrated by 100 typical examples, reproduced 
from rare and unique prints in the British Museum. 3 vols., imperial folio, 
in cloth cases. 

London, 1893. 

UU—Fairchild, H. L. 

History of the New York Academy of Sciences. Portraits. 8vo, boards, uncut. 

New York, 1886. 

No. 227 of 500 copies printed on large paper. 

1715 — Fairf ax Correspondence. 

Memoirs of the Reign of Charles [, Kdited by G. W. Johnson. Portraits. 
2 vols., 8vo, half calf, gilt top, uncut. [Lettered in error, " Prescott's 
Charles I."] 

London, 1848. 

171C — Pales, S. B. 

Art Collections, etc. Illustrated. Royal 8vo, half brown levant morocco extra, 
gilt top, uncut. 

New York, 1881. 

1717 — Family Crests. 

Book of. Comprising nearly every bearing, with its blazonry. Upwards of 400 

engravings of crests. 2 vols., post 8vo, cloth, gilt top. 

London, 1875. 

]7I8— Farrar, F. W . 

Life and Work of St. Paul. Maps. 2 vols., 8vo, cloth. 

New York, n. d. 



1719 — Farren, R. 

Cambridge and its Neighborhood. Drawn and etched by R. Farren. 31 plates on 
India paper. Cathedral Cities: Ely and Norwich. Introduction by E. A. 
Freeman. 35 plates. Peterborough with the Abbeys of Crowland and 
Thorney. 22 plates. 3 vols., folio, half brown morocco, gilt top, uncut. 

The last two are artist proof copies. Cambridge, 1881-88. 

1720 — Faurie/, C. C. 

History of Provencal Poetry. Translated by G. J. Adler. 8vo, cloth, uncut. 

New York, i860. 

1721 — Felibieti des Avaux, 

Plans et descriptions de deux des plus belles maisons de campagne de Pline !e Con- 
sul, etc. 5 plates. L'Idce du peintre parfait. 2 vols, in 1, post 8vo, old 
calf (rubbed). 

London, 1707. 

1722 — Fergusson, Alexander. 
Laird of Lag. 8vo, cloth, gilt top, uncut (rubbed). 

Edinburgh, 1886. 

1723 - — Fergusson, James. 
History of Architecture in all Countries, from the Earliest Times to the Present 

Day. Illustrated. 2 vols., 1865-67. History of Indian and Eastern Archi- 
tecture. Illustrated. 1876. Together, 3 vols., half morocco, gilt top. 

London, 1865-76. 

1724 — Fergus son , James. 
The Parthenon: An Essay on the Mode by which Light was Introduced into Greek 

and Roman Temples. Illustrated. 4to, ornamental cloth, uncut. 

London, 1883. 

1725 — Ficoroni, Francesco de . 

Maschere Sceniche e le Figure Comiche D'Antichi Romani. 85 plates. 4to, half 
brown morocco. 

Rome, 1736. 

17 20 — Field, Alice D. 

Palermo: A Christmas Story. 5 etchings. 410, boards, uncut. 

New York, 1885. 

Large paper. Presentation copy from the author. 

1727 — Fielding, Henry. 

Works. Edited, with biographical essay, by Leslie Stephen. Illustrations on India 
paper. 10 vols., royal 8vo, half green levant morocco extra, gilt top, uncut. 

2 S o copies printed. London, .882. 



1 728 — Fielding, Henry. 

Miscellaneous Works. Portrait. 4 vols., i2mo, half blue calf. 

New York, :86i. 

1729 — Fischbach, Fr. 

Ornamente der Gewcbe. 160 plates in color. Folio, morocco extra, gilt top. 

Hanau, n. d. 

1730— Fisher, Payne. 

Angler's Souvenir. Engravings by Beckwith and Topham. Crown 8vo, cloth, 
gilt top, uncut. 

London, 1835. 

1731 — Fisher and Nichols. 

Ancient allegorical, historical, and legendary paintings, in fresco, discovered in the 
summer of 1804, on the walls of the Chapel of the Trinity ... at Stratford- 
upon-Avon. 24 plates, some in color. Folio, half maroon morocco, uncut. 

The Odell copy. London, 1838. 

1732— Fiske t John. 

The Discovery of America. Portrait. 4 vols., royal 8vo, ha/f blue levant mo- 
rocco, gilt top, uncut. 

Cambridge, 1802. 

Large paper copy. No. 171 of 250 copies printed. 

1733 — Fleming and Tibbins. 

Royal Dictionary, English and French, etc. 2 vols., 4to, sheep. 

Paris, 1844, 1841. 

1734 — Florence. 

Le tre porte del Battistcro di San Giovanni di Firenze. With all the fine outline 
plates. Folio, half red levant morocco, gilt back. 

Firenze. 1821. 

1735 — Florence Gallery. 

Imperiale e reale Galleria di Firenze. Edited by L. Bartolini, G. Bezzuoli, and 

S. Jesi. With all the famous illustrations by F. Ranalli. 6 vols, in 5. Folio, 

half morocco, uncut. „. 

rirenze, 1841. 

Includes a volume entirely composed of beautiful steel plate portraits of the 
painters represented. 

1736 — Florence. 

Palais de San Donato. Illustrated catalogue. 410, half red levant morocco extra, 
gilt top, uncut. 

Paris. !88o. 



1737 — Forsyth, Wtn. 

Life of Marcus Tullius Cicero. Illustrations, a vols., i2mo, half green calf 
extra, gilt top, uncut. 

New York, 1865. 

2738 — Fortnum, C. D. E. 

Maiolica. Numerous woodcuts. Crown 8vo, cloth. 

London, n. d. 

1739 — Foster, Birket. 

Pictures of English Landscape engraved by Oalziel. Words by Tom Taylor. 4to, 
ornamental cloth, gilt edges. 

London, 1863. 

1740 — Fox, John. 

Book of Martyrs. Portraits. 3 vols., royal 8vo, cloth, uncut. 

London, 1844. 

1741 — Franken and van der Kellen. 

L'CEuvre de Jan van de Velde. Royal 8vo, half calf extra, uncut. 

Paris. 1883. 

1742 — Franklin, Benjamin. 

Letters to: from his Family and Friends. Portraits. Royal 8vo, half brown 
morocco. 

New York, i8sg. 

1743 — Franks, A. W. 

Book of Ornamental Glazing Quarries. 112 colored plates. 8vo, cloth, gilt top, 
uncut. 

London, 18.W 

1 744 — Freeman, E. A. 

History of Norman Conquest of England. Maps. 6 vols., 8vo, half maroon calf 
extra. 

Oxford. 1873-79. 

1 745 — Froude, J. A. 

History of England. 12 vols., i2mo, cloth, uncut. 

New York, 1865 

274G — Fuller, George. 

Life and Work. 8 illustrations. 4to, half vellum, uncut. Boston, «886 

No. 134 of 300 large paper copies, with illustrations on Japan paper. 

2747 — Galton, Douglas. 

Observations on the Construction of Healthy Dwellings, etc. Illustrated. 8vo, 
cloth, uncut. Qx[ord ig8o 



1 748 — Garnier, Edouard. 

La Porcclaine tendre de Sevres. 50 colored plates. Folio, half brown morocco, 
gilt top. 

Quantin, Paris, n. d. 

1749 — Gautier, Theophile. 

Emaux et Camees. 112 illustrations by Gustave Fraipont. i6mo, blue levant 

morocco, gilt back and sides, with mosaic of rose, doubled with rose morocco 

gilt borders, silk guards, gilt edges, by Marius Michel. Japan paper, half-title 

colored bv hand. „ . 

1 fans, 1887. 

Presentation copy from Marius Michel to Ernest Poisson. 

1750 — Gay, Victor. 

Glossaire Archeologique du Moyen Age et de la Renaissance. A-G. 410, half 
" brown levant morocco, gilt top. 

Paris, 1887. 

1751 — Gelis-Didot and LaffilUe. 

La Peinture Decorative en France du XI e au XVI' Siecle. Numerous colored 
plates. Folio, half brown morocco, gilt top. 

Paris, n. d. 

1 752 — Gell and Gandy. 

Pompeiana. Topography, edifices, and ornaments of Pompeii. 77 steel plates, 
besides maps, plans, etc. Royal 8vo, half morocco, gilt top, uncut. 

_ . London, 1852. 

17o3 — Godman Collection Catalogue. 

Thirteenth century lustred vases and wall tiles. By Henry Wallis. Illustrated. 
2 vols., 4to, half brown levant morocco, gilt top, uncut. 

London, 1891-04. 

Nos. 6,1 and 48 of 200 copies privately printed. 

1754— Goethe. 

Faust. Translated into English verse by Sir Theodore Martin. 2 vols., i2mo 
blue levant morocco, gilt fillets, doubled with satin, satin guards, gilt edges, 
by Zaehnsdorf. 

London, 1886, 

1755 — Gonse, Louis (editor). 

L'Art ancien [et moderne] a l'Exposition de 1878. Par Mm. Ed. de Beaumont, 
Th. Biais, and others. Illustrated. 2 vols., folio, half red morocco, gilt top, 

uncut. 

Paris, 1879. 

1756 — Gonse, Louis. 

L'Art Japonais. Numerous full-page and text illustrations, some in colors. 2 vols., 
4to, red levant morocco, gilt back and sides, gilt edges. p ari igg ^ 

Printed on vellum paper. 



1757 — Gonse, Louis. 

Sculpture francaise depuis le XIV" siecle. Numerous illustrations. Folio, cloth, 
gilt top, uncut. 

Paris, 1895. 

2753 — Gonse, Louis. 

L'Art Gothique: L* Architecture. La Peinture. La Sculpture. Le Decor. Nu- 
merous illustrations. 410, ornamental cloth, gilt top, uncut. 

, Paris, n. d. 

1759 — Gower, Lord Ronald (editor). 

Historic Galleries of England. 132 photographs. 4 vols., folio, cloth, gilt edges 
(loose in covers). 

London, 1881-84 

1760 — Grafton Galleries. 

pair Women. Reproductions by the collotype process of some of the principal 

works exhibited at the Grafton Galleries in 1894. Photographs by H. H. H. 
Cameron. Folio, cloth, gilt top, uncut. London, 1894. 

No. 23 of 50 copies printed. 

1761 — Grammont ( Count) . 

Memoirs of. By A. Hamilton. Edited, with notes, by Sir Walter Scott. Portrait 
and 33 etchings by Delort. Proofs on India paper. Royal 8vo, cloth, uncut. 

No. 685 of 78o copies printed. London. 1889. 

1762 — Gray, Thomas. 

Works in Prose and Verse. Edited by Edmund Gosse. Portrait. 4 vols., i2mo, 
half calf, gilt top, uncut. 

New York, 1885 

1 763 — Great Artists. 

Biographies of Rubens, Durer, Titian, Rembrandt, Holbein, Murillo, Van Dyck, 
Claude, Lawrence, Turner, Wilkie, etc. Illustrated. Together, 29 vols., 

1 2 mo, cloth. _. , >0 _ „ 

1 New York, 1880-87. 

27(54 Great Discourse of fesus the Christ, the Son of God. 

By a Layman. 4to, half brown morocco, gilt top, uncut. Nfw york n d 

No. 21 of 125 large paper copies. 

2 yg5 — Greau, Julien. 

Collection. Terres Cuites Grecqucs, etc. Plates, some colored. 4to, red levant 
morocco, gilt, gilt top, uncut. 

Paris, 1891. 



1766 — Green, J. R. 

Making of England. Maps. 8vo, cloth, uncut. 

London, 1881. 

YlKi — Griswold, R. W. 

Republican Court, or American Society in the Days of Washington. 21 steel 
portraits. Royal 8vo, brown morocco extra, gilt edges. 

New York, 1856. 

Grolier Club Publications. 

1768 — A Decree of Star Chamber concerning Printing. 

Made July II, 1637. Reprinted by the Grolier Club, from the first edi- 
tion, by Robert Barker, 1637. 8vo, brown levant morocco, gilt top, uncut. 

New York, 1884. 

The first book printed by the Grolier Club. No. 73 of 150 copies printed. 

1769 — Transactions of the Grolier Club. 

From January, 1884, to July, 1885. Part [. 8vo, half orange levant mo- 
rocco, gift top, uncut. Ney/ York i8gs 

1770— De Vinne, Theodore L. 

Historic Printing Types. A lecture read before the Club, January 25, 1885. 
With additions and new illustrations. 410, half red levant morocco, gilt top, 

uncut New York, 1886. 

200 copies printed on Holland paper. 

1771— Hoe, Robert. 

A Lecture on Bookbinding as a Fine Art, delivered before the Grolier Club 
February 26, 1885. With 63 illustrations. 4to, parti-colored levant morocco 
gilt top, uncut. New Yofki i8g6 

200 copies printed. 

1772 — Irving, Washington. 

A History of New York from the Beginning of the World to the End of the 
Dutch Dynasty, etc. By Diedrich Knickerbocker. With unpublished cor- 
rections of the author, illustrations by G. Boughton, W. H. Drake, and H. 
Pyle, and etchings by H. C. Eno and F. Raubicheck. 2 vols., 8vo, blue 
morocco Janseniste, inside borders and satin panels, gilt top, uncut. 

175 copies printed on Holland paper. New York, 1886. 

1773— Readc, Charles. 

Peg Woffington. Headbands, initials, and tail pieces designed by C. M. 
Jenckes. 2 vols., i6mo, brown levant morocco, gilt top, uncut. 

250 copies printed on Holland paper. New York, 1887. 



1774 — Constitution, By-laws, Reports, etc. 
1887 and 1889-1892, 1896-1901 inclusive, with a duplicate of 1897. House 
rules, 1893-95. 15 vols., l6mo, half calf, gilt top, uncut. (3 rob. in 
boards.) New York, 1887-1901. 

1775 — De Vinne, Theodore L. 
Christopher Plantin and the Plantin-Moretus Museum at Antwerp. With 
illustrations by J. Pennell and others. Royal 8vo, olive morocco, Janseniste, 
gilt top, uncut. New York, 1888. 

300 copies printed. 

1776 — Matthews, William. 
Modern Bookbinding Practically Considered. Plates. 4to, blue levant mo- 
rocco, gilt, gilt top, uncut. New Yor k, i88g. 

300 copies printed on Holland paper. 

1777 — Richard De Bury. 
Philobiblon, Ricardi de Bury. Ex Optimis Codicibus Recensuit, Versionc 
Anglica . . . Andreas Fleming West. Frontispieces. 3 vols., 4to, 
brown morocco, gilt top, uncut. New Yor k, 1880. 

297 copies printed. 

177§ — Milton, John. 

Areopagitica. A Speech for the Liberty of Unlicensed Printing, to the Parlia- 
ment of England. With an Introduction by James Russell Lowell. Etched 
portraits. i2mo, blue levant morocco, gilt top, uncut. 

New York 1800. 

325 copies printed on Holland paper. 

I779 — Curtis, George W. 

Washington Irving: A Sketch. 8vo, original red morocco, gilt top, uncut, 
by Stikeman. N ew York, 1891. 

344. copies printed. 

17gQ Catalogue of an Exhibition of Engraved Portraits. 

Including the Effigies of the most Famous English Writers, from Chaucer to 
Johnson. Portraits. 8vo, blue levant morocco, gilt, gilt top, uncut. 

One of 200 large paper copies printed. New Yor,t ' '8 01 - 

1 78I — Exhibitions. 

The Fan in all Ages. 1891. Engraved Portraits: being the Effigies of the 
most Famous English Writers from Chaucer to Johnson. 1891. Catalogue 
of Line Engravings. 1892. Catalogue of Portraits Engraved by W. Faithornc. 
1893. Brief Hand-list of Original and Early Editions (Langland to Wither). 
1893. Chronological Hand-list of Various Editions of the Complete Angler. 
1893. 6 vols, in 1, i6mo, half blue levant morocco, gilt top, uncut. 

New York, 1891-93. 



17S2— Exhibitions. 

Bookbindings (1860-1890). 1 80 1. Chronological List of Works of 
Tennyson. 1897. Plans and Views of New York City (1651- 1860). 
1897. 3 vols, in 1 , i6mo, half calf, gilt top, uncut. 

New York, 1891-1897. 

1783 — Conway, Moncure D. 

Barons of the Potomack and the Rappahannock. Portraits, facsimiles, and illus- 
trations. 8vo, blue levant morocco, gilt, gilt top. ^ e w York 1892 

360 copies printed on Italian hand-made paper. 

] 784 — Catalogue of Original and Early Editions of some of the Poetical and Prose Works 
of English Writers, from Langland to Wither. 

With Collations and Notes, and 87 Facsimiles of Title-pages and Frontis- 
pieces: being a contribution to the Bibliography of English Literature. Royal 
8vo, half blue levant morocco, gilt top, uncut. New Y ork, 1893 

400 copies printed on Holland paper. 

1 785 — Exhibitions. 

Catalogue of Books printed by William Bradford, etc., 1893. Commercial 
Bookbindings. 1894. Classified List of Early American Book-plates, etc., by 
C. D. Allen. 1894. 3 vols, in 1, i6mo, half blue levant morocco, gilt top, 

uncut - New York, 1893 04. 

1786 — Facsimile of the Laws and Jets of the General Assembly for their Majesties Province 
of New York, at Nnv York, William Bradford, idpf. 

Edited by R. L. Fowler. Folio, brown levant morocco, gilt, gilt top, uncut. 
312 copies printed. New York - '894- 

1787— Men, C. D. 

A Classified List of Early American Book-plates. Illustrations. 8vo, half 
brown morocco, gilt top, uncut (original paper wrappers bound in). 

New York, 1894. 

One of 350 large paper copies printed on Italian hand-made paper. 

1788 — Transactions of the Grolier Club of the City of New York. 

From July, 1885, to February, 1894. Part II. Illustrations. 410, half 
brown levant morocco, gilt top, uncut. New York, 1804. 

750 copies printed. 

1789 — Catalogues of Exhibitions. 

Early Printed Books. Tennyson. Plans and Views of New York City. 
Titles and Frontispieces. Meryon's Etchings and Drawings. English Liter- 
ary Portraits. Sketch of Saint-Memin. Early English Bookbindings. 
Chaucer. Portraits of George Washington. Portraits of Women Writers. 
Engravings of F. Gaillard (3). iMosaic Bookbindings. 15 vols., i6mo, 
paper, uncut. New Yo rk, 1894-1902. 



1790 Description of the Early Printed Books owned by the Grolier Club. 

With a brief account of their printers and the history of typography in the 
fifteenth century. Illustrations. Folio, brown levant morocco, gilt top, uncut. 

400 copies printed. New York - 

— The Poems of John Donne. 

From the text of the edition of 1633, revised by James Russell Lowell, with 
the various readings of the other editions of the seventeenth century, and with 
a preface, an introduction, and notes by Charles Eliot Norton. Portrait etched 
by S. J. Ferris. 2 vols., i2mo, brown morocco, gilt top, uncut. 

380 copies printed. New York - l8 9S- 

■j Catalogue of Books from the Libraries or Collections of Celebrated Bibliophiles and 

Illustrious Persons of the Past. 

With arms or devices upon the bindings. Plates. Small 4to, half brown 
morocco, gilt top, uncut. New York, 1895. 

Only 350 copies printed on Holland paper. 

1793 Catalogue of the Engraved Work of Asher B. Durand. 

Exhibited at the Grolier Club, April, 1895. i6mo, half brown morocco, gilt 
top, uncut (original covers bound in). New York, 1895. 

1794 — Another copy. 

On large paper, with portrait. 8vo, half brown morocco, gilt top, uncut 

(original covers bound in). 
350 copies printed. 

1 795 Exhibitions . 

Catalogue of an Exhibition Illustrative of a Centenary of Artistic Lithography 
(1796-1896). 1896. Engraved Portraits of French Authors. 1895. En- 
graved Portraits of Women Writers from Sappho to George Eliot. 1895. 
Japanese Prints. 1896. 4 vols, in 1, i6mo, half calf, gilt top, uncut. 

New York, 1895-96. 

j^gg Catalogue of an Exhibition Illustrative of a Centenary of Artistic Lithography, 

Ijc)6-i8c)6. 

With 244 examples by 160 different artists. Illustrated with 20 photo-engrav- 
ings from the originals. 8vo, brown levant morocco, gilt top, uncut (original 
covers bound in). New York, 1896. 

Large paper. Only 400 copies printed. 

j 797. Warren, Arthur. 

The Charles Whittinghams, Printers. Portraits and illustrations. 8vo, brown 
levant morocco, gilt top, uncut. New York. 1896. 

Only 385 copies printed. 



1 798 — A Chronological Catalogue of the Engravings, Dry-Points, and Etchings of Albert 
Durer, as exhibited at the Grolier Club. 

Compiled by S. R. Koehler. Small folio, cloth, uncut. 

New York, 1897. 

400 copies on Holland paper. 

1799— Two Note-Booh of Thomas Carlyle. 

From 23d March, 1822, to 16th May, 1832. Edited by Charles Eliot 
Norton. Portrait. Small 8vo, half morocco, gilt top, uncut. 

Only 387 copies printed. New York, 1898. 

1800— Exhibitions. 

Catalogue of Etchings and Drawings by Charles Meryon, 1898. Engraved 
Titles and Frontispieces Published in England during the Sixteenth and Seven- 
teenth Centuries, 1898. English Literary Portraits, 1898. 3 vols, in 1 
i6mo, half calf, gilt top, uncut. 

New York, 1898. 

1801— The Life of Charles Henry, Count Hoym, Eminent French Bibliophile, 1 68 4-1 J 36. 
Written by Baron Jerome Pichon. Translated into English for the Grolier 
Club, with a Sketch of the Life of the late Baron Pichon. Illustrations. Royal 
8vo, half morocco, brocaded silk sides, uncut. ^ ey/ Y or k jggg 

303 copies printed. 

1802 — Transactions of the Grolier Club of the City of New York, from February < 1804 

to July, rSpp. 

Part III. View of the club house, etc. 410, half maroon levant morocco 

gllt t0p ' UI1CUt - New York, l899 . 

470 copies printed. 

1803 — Exhibitions. 

Sketch of the Life of Charles Balthazar Julien Fevret de Saint Memin, 1899 
Engraved and Other Portraits of Lincoln, 1899. Original Editions of the 
Works of Edmund Spenser, 1899. Decorated Early English Bookbindings, 
1899 (2 copies). 5 vols, in 1, i6mo, half calf, gilt top, uncut. 

New York, 1809. 

1804 — A Translation of Giovanni Boccaccio's Life of Dante. 

With an introduction and a note on the portraits of Dante. By G. R. Car- 
penter. Portrait. Small 4.to, emblematic board covers, uncut, in slip case. 

Only 300 copies printed on Italian hand-made paper. New York, 1900. 

1805 — Catalogue of Etchings and Dry-Points by Rembrandt. 

Selected for exhibition at the Grolier Club of the City of New York, April- 
May, 1900. Etched portrait. Small 4to, cloth, uncut. 

310 copies printed. New York, 1000. 



1S06 — Catalogue of an Exhibition of First and Other Editions of the Works of John 
Dryden [j6ji-ryoo). 

Together with a few engraved portraits and two oil paintings. Commemora- 
tive of the 200th anniversary of his death. Small 8vo, paper, uncut. 

New York, iooo. 

jg07 — Exhibitions. 

Engraved Portraits of Washington, 1900. Original and Other Editions, Por- 
traits and Prints, Commemorative of the 500th Anniversary of the Death of 
Chaucer, 1900. First and Other Editions of the Works of John Dryden, 
1900. 3 vols, in 1, i6mo, half calf, gilt top, uncut. 

New York, 1000. 

jgQg — De Vinne, Theodore Law. 

Title-pages as Seen by a Printer. With numerous illustrations in facsimile. 
And some observations on the early and recent printing of books. 8vo, half 
morocco, uncut, in slip case. 

New York, 1001. 

325 copies printed on Italian hand-made paper. 

JS09 — Catalogue of an Exhibition of Selected Works of the Poets Laureate of England. 

i6mo, paper, uncut. , 

New York, loot 

1810 — Another copy. 

On large paper, with portrait of Jonson engraved by S. A. Edwards. 8vo, 
boards, uncut. 

300 copies printed. 

1811 — Gross, S. E. 

Merchant Prince of Cornville. 4to, cloth, gilt top, uncut. 

Cambridge, 1806. 

Privately printed. The source of Rostand's "Cyrano de Bergerac" ! 

jgl2 — Gruner and Lose. 

Terra-cotta Architecture of North Italy, XII. -XV. centuries. 48 illustrations 
in colors, woodcut sections, etc. 4to, half morocco, gilt top. 

London, 1867. 

1 8 1 3 — Guiffrey, Jules. 

Histoire de la Tapisserie depuis le Moyen Age jusqu'a nos jours, Colored frontis- 
piece and numerous other illustrations. Royal 8vo, half red levant morocco 
extra, gilt top, uncut. 

Tours, 1886. 

l8l 4_« Hackle, Palmer" [R. Blakey\ 

Hints on Angling. (France and Belgium.) 8vo, cloth, uncut. 

London, 1846. 



1 



1815 — Hague Museum . 

Das Konigliche Museum im Haag. 134 superb photographs from the original 
paintings. 3 vols., imperial folio, half morocco extra. 

Miinchen, n. d. 

18 1G — Ha levy, Ludovic. 

L'Abbe Constantin. Etchings by Mme. Madeleine Lemaire. 4to, brown levant 
morocco, back and sides ornamented with interlaced fillets, doubled with black 
morocco, gold borders after the manner of Gcrome, morocco guards, with bor- 
ders, gilt top, uncut edges, by Zaehnsdorf. Paris 1887 

No. 29 of 50 Japan paper copies, with plates in four states, on satin, in blue, bistre, 
and the regular series, and an original water color designed (signed) on the false title. 

1817 — Hall, S. C. (editor). 

Baronial Halls (The) and Ancient Picturesque Edifices of England. Colored plates 
after J. D. Harding, G. Cattermole, S. Prout, W. Muller, T. Holland, etc. 
2 vols., folio, in half brown morocco wrappe.s. 

New York, n. d. 

1818 — Hals, Frans. 

Eaux-fortes de. Par W. Unger. 20 fine etchings, the best examples of Hals's 
works. Study of the master and his works by C. Vosmaer. Kolio, red 
morocco extra. 
Proof copy. 



Ley den, 1873. 



1819 — Hamerton, Philip Gilbert. 

Etching and Etchers. Third edition, enlarged and improved. Illustrated with 48 
full-page etchings after the most famous masters. Folio, half green morocco, 
gilt top, uncut. 

London, tS8o. 

1820 — Hamerton, P. G. 

The Graphic Arts: A Treatise on the Varieties of Drawing, Painting, and En- 
graving. 54 illustrations. 4to, parchment, gilt top, uncut. 

London, 1882, 

1821 — Hamerton, P. G. 

Landscape. Illustrated with original etchings by Parrish, Lalanne, Slocombe, 
Hardy, Pennell, and others, and line and mezzotint engravings after Turner, 
Corot, Linnell, Landseer, Cox, Hunt, and others. Folio, vellum, gilt, uncut. 

Large paper copy. London, 1885. 



1822 — Hamerton, P. G. 

Man in Art. Illustrated with 46 fine etchings, mezzotints, etc. Folio, cloth, 
uncut. London, 1892. 



FOURTH AND LAST EVENING'S 

SALE 



Friday, January 30th, 1903 



BEGINNING PROMPTLY AT 8 O'CLOCK 



Fine Art and Other Books 



1823 — Hamerton, P. G. 

Present State of the Fine Arts in France. Numerous illustrations, including 7 etch- 
ings by Mile. Poynot, H. Manesse, B. Damman, P. A. Masse, and H. 
Toussaint. Folio, cloth, gilt edges. 

London, 1892. 



jg24— Hamilton Palace Collection. 

Illustrated and priced Catalogue. 4to, cloth, uncut. 



London, 1882. 



^g25 — Harrisse, Henry. 

Discovery of North America. Maps. 4,to, half brown morocco, gilt top, uncut. 

London, 1802. 

No. 22 of 40 copies printed on Dutch paper. 

182G — Havard, Henry. 

La Hollande a vol d'oiseau. Numerous etchings and woodcuts by M. Lalanne. 
Imperial 8vo, maroon levant morocco, gilt and blue mosaic back and sides, 
inside borders, gilt edges. 

Paris, 1882. 



1827 — Havard, Henry. 

La Flandre a vol d'oiseau. Numerous etchings after nature by Maxime Lalanne. 
Imperial 8vo, brown levant morocco, gilt back and sides, inside borders, gilt 
«lg«. Paris, 1883. 

No. 47 of 100 copies on Holland paper, with a second set of illustrations, proofs 
on India paper. 

1828 — Havard, Henry. 

L'Art dans la Maison (Grammaire de rAmeublemcnt). 52 full-page plates and many 
text illustrations. Folio, half brown levant morocco extra, gilt top, uncut. 

Paris, 1884. 

100 copies printed, with an extra set of proofs. 

1829 — Another copy. 4to, half maroon levant morocco, gilt top, uncut. 

No. 87 of 100 copies printed on papier verge. 

1830 — Havard and Vachon. 

Les Manufactures Nationales: Les Gobelins, La Savonnerie, Sevres, Beauvais. 
Profusely illustrated. Imperial 3vo, half red morocco, gilt top, uncut. 

Paris, 1889. 

1831 — Havard, H. 

Dictionnaire de 1' AmeuMement ct de la Decoration depuis le XIII' siccle jusqu'a 
nos jours. 256 plates, some colored, and over 2,500 engravings in the text. 
4 vols., folio, half red levant morocco extra, gilt top, uncut. 

Paris, n. d. 

1832 — Hawkins, Rush C. 

Titles of the First Books from the Farlicst Presses established in different Cities, 
Towns, and Monasteries in Kurope, before the end of the Fifteenth Century, 
with Brief Notes upon their Printers. Illustrated with reproductions of ear/v 
types and first engravings of the printing-press. 410, cloth, uncut. 

No. s of 300 copies. Ncw York - l8 &»- 

1833 — Hawthorne, Julian. 

Nathaniel Hawthorne and His Wife. Illustrated. 2 vols., i2mo, cloth, gilt top. 

Boston, 1885. 

1834 — Hawthorne, Nathaniel. 

Complete Works. Portraits, etc., on India paper. 12 vols., 8vo, half red levant 
morocco, gilt top, uncut. 

Cambridge, 1883-84. 

Edition de luxe. No. 76 of 250 copies printed. 



1835 — Haydn, Joseph. 

Dictionary of Dates. 8vo, cloth, uncut. 



London, 1863. 



1836 — Haydon, Benjamin Robert. 

Correspondence and Table Talk, with a Memoir by his son, F. W. Haydon. Illus- 
trated. 2 vols., 8vo, cloth, uncut. (Vol. I. loose in covers.) 

London. 1876. 

1837 — Hazlitt, W. C. 

Gleanings in Old Garden Literature. Crown 8vo, half brown morocco, gilt top, 
uncut. 

London, 1887. 

1838 — Hefner- Alteneck, J. H. von. 

Serrurerie ou les ouvrages en fer forge du Moyen Age et de la Renaissance. Trans- 
lated into French by D. Ramce. 84 plates. 4-to, half brown morocco, gilt top, 
uncut. 

Paris, 1870. 

1839 — Hefner- Alteneck, J. H. von. 

Original-Zeichnungen deutscher Meister des i6ten Jahrhunderts, etc. Plates 1-18 
(minus 11). Folio, unbound, in board wrappers. 

Frankfurt, 1889. 

1840 — Heiss, Alois s. 

Les Mcdailleurs de la Renaissance. Venise et les Venitiens du XV e au XVII' siecle. 
1887. Numerous illustrations. Florence et la Toscane sous les Medicis. 
1892. 2 vols., 410, half levant morocco (not uniform), gilt top, uncut. 

Paris, 1887-92. 

Ig4l — Helps, Arthur. 

Friends in Council: A Series of Readings, and Discourse Thereon. 2 vols., post 
8vo, blue straight grain morocco, gilt, gilt edges. 



1842 — Helps, Arthur. 

Companions of my Solitude. Post 8vo, calf, gilt. 



London, 1854. 



London, 1854. 



1S 43 — Henley, W. E. (editor). 

Century of Artists: A Memorial of the Glasgow International Exhibition. 1888. 
Descriptions of pictures by R. Walker. Numerous illustrations. Folio, 
buckram, gilt top, uncut. 

Glasgow, 1889. 

No. 124 of 215 large paper copies, with proofs on Japan paper, 



1844 — Henley, W. E. (editor). 

Lyra Heroica: A Book of Verse for Boys. 8vo, blue levant morocco, gilt back and 
sides, gilt top, uncut. 

London, 1892. 

No. 33 of 100 large paper copies. 

1845 — Henry, Patrick. 

Life, Correspondence, and Speeches. By W. W. Henry. Portrait. 3 vols., 8vo, 
cloth, gilt top, uncut. 

t • .a a-.- New York - 1801 

Limited edition. 

1846 — Herbert, George. 

Works. Portrait, etc. 2 vols., post 8vo, half blue calf extra, gilt top, uncut. 

Pickering, London, 1848-57. 

1847 — Heuzey, Lion. 

Les figurines antiques de terre cuite du Musee du Louvre. 56 plates. 4*0, half 
red levant morocco extra, gilt top, uncut. 

Paris, 1883. 

1848 — Hill, George B. 

Footsteps of Dr. Johnson. Portrait and illustrations. 4to, half brown morocco, 
gilt top, uncut. 

London, 1890. 

Large paper copy. 

1849 — Hipkins, A.J. 

Musical Instruments, Historic, Rare, and Unique. 50 plates in colors, by W. 
Gibb. Folio, half red levant morocco, gilt edges. 

Edinburgh, 1888. 

1,040 copies printed. 

I860 — Hodgtin, J. E. and Edith. 

Examples of Early English Pottery, Named, Dated, and Inscribed. Illustrated. 
4to, cloth, gilt top. 

r . London, 1881. 

No. 259 of 500 copies printed. 

1851 — Hoffmann, E. T. A. 

Contes Fantastiques tires des freres de Serapion et des contes nocturnes. Traduc- 
tion de Loeve-Veimars. Preface by G. Brunet. 1 1 etchings by Lalauze. 
2 vols., i2mo, half red levant morocco, gilt top, uncut. 

Paris, 1883. 

Holland paper copy. 



1852 — Hoffman, H. 

Collection : Catalogue des antiquites Egyptiennes redige par Georges Legrain. 48 
plates. 4to, half calf extra, gilt top, uncut. 

Paris. 1894. 

1853 ~Ho/iand, T. C. 

British Anglers' Manual. Edited by E. Jesse. Engravings. Crown 8vo, cloth, 
uncut. 

London, 1848. 

1854 — Holbein, Hans. 

Portraits of the Court of Henry VIII. With Memoirs by E. Lodge. 83 colored 
portraits by Bartolozzi. Folio, half red morocco, gilt edges. 

London, 1812. 

1855 — Holbein, Hans {at Windsor). 

portraits of Illustrious Personages of the Court of Henry VIII. Historical intro- 
duction by R. R. Holmes. 54 plates on Japan paper. Folio, half vellum, 
gilt, gilt top, uncut. 

London, Munich, n. d. 

1856 — Holbein, Hans. 

Par P. Mantz. Numerous illustrations. Folio, half red levant morocco, gilt top. 

Quantin, Paris, 1879. 

1857 — Holbein, Hans. 

Dessins d'ornamcnts de. Text by E. His. 51 fine plates. Folio, half brown 
morocco, gilt top, uncut. 

Paris, 1886. 

Holland paper copy. No. 184 of 250 copies. 

1858 — Holbein. 

Hans Holbein's des Aclteren Silberstift-Zeichnungen im Koniglichen Museum zu 
Berlin. Reproductions of 82 works by A. Frisch. Text by Dr. A. Wolt- 
mann. Folio, half red morocco, gilt and mosaic back, gilt top, uncut. 

Nuremberg, n. d. 

1859 — Homer. 

Iliad. Rendered into English blank verse by Edward, Earl of Derby. 2 vols., 
121110, cloth. 

New York, 1865. 

I860 — -Hood, Thomas. 

Works. Portraits, etc. 6 vols., i2mo, half calf extra, gilt top, uncut. 

New York, 1861. 



1861 — Hood, Thomas. 

Poems. Illustrated by G. Dore. 8 steel engravings. Folio, cloth, gilt edges. 

London, 1870. 

1862 — Hope, Thomas. 

Costume of the Ancients. 200 plates in outline. 8vo, calf extra, gilt edges. 

Original edition. London, 1809. 

1863 — Huguenot Society of America. 

Proceedings, 1883-87 -, 1884-88; 1888-96. 3 vols., 8vo, half brown morocco, 
gilt top, uncut. 

New York, 1884-96. 

1864 — Huguenot Society of America. 

Collections of. Vol. I. Royal 8vo, half cloth, gilt top. 

New York, 1886. 

1865 — Huguenot Society of America. 

Tercentenary Celebration of the Promulgation of the Edict of Nantes. Portraits, 
etc. 8vo, cloth, gilt top, uncut. 

New York, 1000. 

1866 — Huguenot Society of London. 

Publications. Vols. XIII., XIV. 2 vols., 4to, paper, uncut. 

No. 392 and 382 of 450 copies printed. Lymington, 1809-1901. 



1867 — Humphreys, A. L 

The Private Library : what we do know, what we don't know, what we ought to 
know about our books. 4to, cloth, gilt top, uncut. 

New York, 1897. 



1868 — International American Conference Reports. 

4 vols., 4to, half brown levant morocco, gilt top. 

English edition. Includes Historical Appendix. Washington, 1800. 



1869 — Irving, Washington. 

Works. 10 vols., i2mo, cloth, uncut. 



New York, 1850-51. 



1870 — Irving, Washington. 

Life of George Washington. Numerous steel portraits, etc. 5 vols., 4to, half 
brown levant morocco, gilt back and top. New Y or Jc, 1855-59. 

First edition, ito copies only printed in quarto, with proof impressions of the 
portraits on India paper. 



1 87 1 — Irving, Washington. 

History of New York by Diedrich Knickerbocker. Portrait and engravings. 8vo, 
brown morocco, gilt back and sides, gilt edges. 

New York, i860. 

1872 — Irving, Washington. 

Life and Letters of. By Pierre M. Irving. Portrait. 3 vols., i2mo, half calf 
antique, not uniform. 

New York, 1862-63. 

1873 — Irving, Washington. 

Life and Letters. By P. M. Irving. Illustrated with a large number of steel por- 
traits not in the small paper copies. 3 vols., 4to, half green levant morocco 
extra, gilt top, uncut. New Yofk ^ 

No. 49 of 300 copies printed. 

1874 — Irving, Washington. 

Sketch Book. Artist's edition. Portrait. Illustrated with 120 engravings on wood 
from the designs of Darley, Hart, Hoppin, Huntington, Casilear, McEntee, 
Kensett, and others. 4to, green levant morocco, gilt, gilt edges. 

New York, 1864. 

1875 — Irving, Washington. 

The Alhambra. Illustrations and colored borders. 2 vols., 8vo, cloth, gilt top, 

uncut - New York, 1891. 

No. 52 of 100 copies, with proofs on Japan paper. 

1 876 — Irving, Washington. 

Rip van Winkle. 53 illustrations by G. H. Boughton. Crown 8vo, blue calf, gilt 
back and edges, by Zaehnsdorf. 

London, 1893. 

1877 — Israels, Jozef , L" Homme et U Artiste. 

Text by F. Netscher and Ph. Zilcken. Etchings by Wm. Steelink, the large plates 
on India paper. Imperial folio, half brown morocco. 

Amsterdam, n. d. 

1878 — Ivories. 

Ivoires de la Ville de Volterra. Florence, 1880. Collection de M. Rusca de 
Florence, 1883. Both illustrated. 2 vols, in 1, royal 8vo, half blue morocco 
extra, gilt top, uncut, 

\879—Jackson t T. G. 

Dalmatia; The Quarnero and Istra. Illustrated. 3 vols., 8vo, brown levant 
morocco, inside borders, gilt edges, by Zaehnsdorf. 

Oxford, 1887. 



1880— Jackson, T. G. 

Dalmatia; The yuarnero and Istra. Illustrated. 3 vols., 8vo, half vellum, uncut. 



1881 — Jacquemart, Albert. 

Histoire de la Ccramique. 200 woodcuts, 12 etchings, 1,000 marks and mono- 
grams. Royal 8vo, ornamented vellum, gilt top. 

Paris, 1873. 

1882 — Jacquemart, Albert. 

History of the Ceramic Art. Translated by Mrs. Bury Palliser. Numerous illus- 
trations. Royal 8vo, cloth, gilt top, uncut. 

London, 1877. 

1883 — Jacquemart, Albert. 

History of Furniture. Edited by Mrs. Bury Palliser. Numerous illustrations. 
Royal 8vo, cloth, gilt top, uncut. 

London, 1878. 

1884 — Jacquemart and Le Blant. 

Histoire artistique, industrielle et commerciale dc la porcelaine. 26 etchings. Folio, 
half green morocco, gilt top, uncut, by Chatelin. 

Paris, 1862. 

1885 — Jan in, Balzac, Cormenin, and others. 

Pictures of the French. 230 wood engravings. 8vo, cloth (loose in covers). 

London, 1840. 

Portraits on India paper. 

1886— Jay, John. 

Correspondence and Public Papers of (1 763-1826). Edited by H. P. Johnston. 
4 vols., 8vo, half brown morocco, gilt top, uncut. 

New York [1890]. 

No. 149 of 750 copies. 



1887— Jesse, J. H. 

Memoirs of the Court of England from the Revolution in 1688 to the Death of 
George the Second. Steel portraits. 3 vols., 8vo, half green calf extra. 

London, 1843. 

1888 — Jones, Owen. 

Grammar of Ornament. Over 100 colored plates. Folio, half brown morocco, 
gilt edges. 

London, a. d. 



1889— Justi, Carl. 

Diego Velazquez and His Times. Translated by Prof. A. H. Keane, and revised 
by the author. Etched portrait, 52 wood engravings, and plan. Royal 8vo, 
half brown morocco, gilt top, uncut. 

London, 1889. 

2g90 — Kean, Edmund. 

Life of. By F. W. Hawkins. 1 vols., 8vo, calf extra, gilt edges, by Riviere. 

Unique copy, extra illustrated by the insertion of 80 plates. London. 1869. 

189 1 — Kelmscott Press. 

The Golden Legend of Master William Caxton done anew. 3 vols., 4to, half red 

morocco extra, gilt top, uncut. Kelmscott Press, 1892. 

Printed in the type known as " Golden," with two woodcuts designed by Sir E. 
Bu me -J ones. 

jg92 — Kelmscott Press. 

The Recuyell of the Histories of Troye. Translated by William Caxton. 3 vols, 
in 2, folio, vellum, uncut. Kelmscott Press, 1892. 

Printed in red and black (300 copies) and richly ornamental with woodcut orna- 
ments designed by Wm. Morris. The semi-gothic type designed by Morris appears 
for the first time in this book. 

1393 — Kempis, Thomas a. 

Of the Imitation of Christ. Frontispiece. 8vo, brown levant morocco, gilt top, 
uncut. London, 1881. 

No. 5 of 6 copies on vellum. 

1894 — Kingsley, Charles. 

Works. 11 vols., post 8vo, half russia. 

London, 1881. 

1895 — Koehler, S. R. 

Etching: An Outline of its Technical Processes and its History, with some Remarks 
on Collecting. 30 plates. Folio, cloth, uncut. 

New York. 1885. 

1896 — Kohlrausch, F. 

History of Germany. Translated by J. D. Haas. 8vo, cloth. 

New York, 1845. 

Ig97 — Kums, Edouard. 

Antwerp. Illustrated catalogue of his collection of paintings. 4to, half green 
levant morocco, gilt top, uncut. Antwerp, 1898. 



1898 — La Fayette (Madame) de. 

La Princesse dc Cleves. Etude par M. dc Lcscurc. Frontispiece by Lalauze. 
i2mo, half red levant morocco, gilt top, uncut. p arjs l88l 

Holland paper copy. 

1899 — La Fontaine. 

Psyche. Edited by D. Jouaust. Etchings and wood engravings after Levy and 
Giacomelli. i2mo, half red levant morocco, gilt top, uncut. 

Thick paper copy. Paris . l88 °- 

1900 — Lambert (Madame) de. 

CEuvres morales de. Etude by M. de Lcscure. Frontispiece by Lalauze. i 2 mo, 
half blue morocco, gilt top, uncut. 

Paris, 1883. 

1901 — LamSom, R. H. 

Mexican Painting and Painters. Illustrated. 4to, cloth, uncut. 

New York, 1891. 
No. 81 of 500 copies printed for the author. Presentation copy. 

1902 — Layard, Austen H. 

Nineveh and its Remains. Illustrated. 2 vols., 8vo, cloth, uncut. 

New York, 1849. 

1903 — Leig/iton, Sir F. 

Illustrated Chronicle by Ernest Rhvs, with Essay by F. G. Stephens. Profusely 
illustrated. 4to, cloth, gilt top, uncut. 

London, 1895. 

1904 — Le/and, C. G. 

Etruscan Roman Remains in Popular Tradition. Illustrated. Roval 8vo, cloth, 
uncut. 

New York, 1892. 



1905 — Lempriere, J. 

Bibliotheca Classica. 8vo, half green morocco. 



New York, 1832. 



190€ — Leonardo da Vinci. 

Literary Works of. By Jean Paul Richter. Portrait and 121 plates. 2 vols., 
royal 8vo, cloth, gilt top. London, 1883. 

English and Italian text. 



1907 — Le Plongeon, Augustus. 

Sacred Mysteries among the Mayas and the Quiches 11,500 Years Ago, etc. Por- 
trait and other illustrations. 8vo, cloth, uncut. 

New York, 1886. 

1908 — Le Sage, A. R. 

Le Diable Boiteux. Preface by H. Reynald. Portrait and other etchings by La- 
lauze. 2 vols., i2mo, half red levant morocco, gilt top, uncut. 

Paris, 1880. 

Holland paper copy. 

1909 — Library of Old Authors. 

Lucasta, by R. Lovelace. 1864. Whole Works of Roger Ascham, now first col- 
lected. 1865. 3 vols, in 4. Hesperides, by R. Herrick. 1869. 2 vo ' s - 
Complete Works of M. Drayton. 1876. 3 vols. Together, 9 vols, in 10, 
crown 8vo, half calf, gilt top, uncut. 

London, 1864-76. 

Large paper copies. 

^910 — Liechstentein (Princess) Marie. 

Holland House. Numerous steel plates, woodcuts, and photographic illustrations. 
2 vols., 4to, half blue morocco, gilt, gilt top. 

London, 1874. 

Large paper copy. 

1911 — Linde, Antonius von der. 

Geschichte der Erfindung der Buchdruckkunst. Illustrated. 3 vols., folio, half 
red levant morocco, gilt top, uncut. 

Berlin, 1886. 

1912 — Linton, W.J. 

Masters of Wood-Engraving. Colored frontispiece and numerous other illustra- 
tions. Royal 4to, cloth, gilt top, uncut. 

3 London, 1889. 

No, 19 of 100 large paper copies printed. 

1913 — Little Classics. 

Edited by Rossiter Johnson. 9 vols., i2mo, half calf extra, marbled edges. 

Boston, n. d. 

1 9 1 4 — Livingstone, D. 

Missionary Travels and Researches in South Africa. Portrait, illustrations, and 
maps. 8vo, cloth. 

New York, 1858. 



1915— Longfellow, H. W. 

Writings of, in Prose and Verse. With Bibliographical and Critical Notes. Num- 
erous portraits on India paper. 1 1 vols., 8vo, half citron morocco, gilt top, 

uncut : Cambridge, 1886. 

Edition dc luxe. No. 20 of 500 copies printed. 

1916 — Longfellow, H. W. 

Final Memorials of. Edited by S. Longfellow. Portraits. 8vo, half brown 

morocco, gilt top, uncut. „ „ 

& r ' Boston, 1887. 

No. 97 of 300 large paper copies. 

1917 — Longfellow, H. W. (editor). 

Poets and Poetry of Europe. Portrait. Royal 8vo, half calf, gilt. 

Philadelphia, 1845. 

1918 — Longfellow, H. W. 

Tales of a Wayside Inn. Frontispiece, nmo, half calf. 

_ . Boston, [863. 

First edition. 

1919 — Louis XVI. 

Architecture, decoration et ameublement, Epoque de. Text by R. Pfnor. 50 
plates. Folio, half green levant morocco, gilt top, uncut. 

Paris, 1865. 

1920 — Lowell, James Russell. 

Writings of. Portraits on India paper. 1 1 vols., 8vo, half red morocco, gilt top, 

uncut. ~ , . „ 

Cambridge, 1890-91. 

Large paper edition de luxe. Only 300 copies printed, (No. 33.) Ten volumes 
originally issued. Vol. XI. is " Latest Literary Essays." 

1921 — Lowell,/. R. 

Old English Dramatists. Portrait. 8vo, blue levant morocco, gilt top, uncut. 

Large paper copy. Cambridge, 1892. 

1922— -Lubke, Wilhelm. 

Grundriss der Kunstgeschichte. Portrait and 355 illustrations. 2 vols., 8vo, half 
brown morocco. 

Stuttgart, 1879. 

1 923 — Lucas van Ley den. 

CEuvre de Lucas de Leydc reproduit et public. Par Amand-Durand. Text by G. 
Duplcssis. 174 reproductions from this famous master. Folio, brown morocco 

extra - Paris, n. d. 



1924 — Lundy,John P. 

Monumental Christianity, or the An and Symbolism of the Primitive Church as Wit- 
nesses and Teachers of one Catholic Faith and Practice. Illustrated. 4-to, 
cloth. 

New York, 1876. 

2925 — Lyon, Irving W. 

Colonial furniture of New England. Profusely illustrated. 4-to, cloth, uncut. 

Boston, 1891. 

1926 — Maberly,J. 

The Print Collector. An Introduction to the Knowledge Necessary for Forming a 
Collection of Ancient Prints. With Fielding's Practice of Engraving. Edited, 
with notes, etc., by Robert Hoe. 4to, half brown levant morocco, gilt top, 
uncut. New York, 1880. 

Large paper copy. No. 17 of 50 so printed on Whatman paper, with 10 plates and 
printer's marks. 



1927 — Maclaughlin, Fanny. 

Rome, its Princes, Priests, and People. 3 vols., 8vo, cloth, uncut. 

London, 1885-87. 

1928 — Magnian, Hollingworth. 

Colworth Collection of Works of Art. Illustrated. Royal 8vo, blue levant morocco, 
gilt, gilt top, uncut. 

London, 1892. 

1929 — Maistre, Xavier de. 

Voyage Autour de ma Chambre: suivi de I'expedition nocturne. Preface by Jules 
Claretie. 6 etchings by Hedouin. 12010, flexible russia, gilt edges. 

Paris, 1877. 

1930 — Margaret of Navarre. 

Les Sept Journees de la Reine de Navarre. Etchings by Flameng. 4 vols., nmo, 
green levant morocco, gilt and mosaic back and sides, inside borders, gilt 
edges, by Chatelin. Jouaust, Paris, 1872. 

One of 500 copies on Holland paper. 



193 1 — Marry at, Joseph. 

Collections towards a History of Pottery and Porcelain, in the 15th, 16th, 17th, 
and 1 8th Centuries. With a description of the manufacture, a glossary, and 
a list of monograms. Colored plates and woodcuts on India paper. 4-to, 
half red morocco, gilt top, uncut. London, 1850. 

Large paper copy of the original issue. 



1932 — Martin, Henri. 

History of France, the Age of Louis XIV. and Decline of the Monarchy. Trans- 
lated by Mary L. Booth. Portraits. 4 vols., 8vo, cloth, uncut. 

Boston, 1865-66. 

1933 — Masaccio. 

Le Pitture esistente in Roma nella Basilica di S. Clemente colle teste lucidate dal Sig. 
Carlo Labruzzi. With a large number of plates in stipple. Atlas folio, half 
morocco. 

Roma, 1830. 

1934 — Maspero, G. 

Dawn of Civilization: Egypt and Chaldaea. Map and over 470 illustrations and 
plans. 1894. The Struggle of the Nations: Egypt, Syria, and Assyria. Map, 
3 colored plates, and over 400 illustrations. 1896. (Both vols, edited by A. 
H. Sayce and translated by M. L. McClure.) 2 vols., royal 8vo, cloth. 

London, 1894-06. 

1935 — Maupassant, Guy de. 

Pierre et Jean. Illustrated by E. Duez and Albert Lynch. 2 vols., 410, brown 
morocco, gilt top, uncut. 

Paris, 1888. 

No. 13 of 50 copies on Japan paper, with plates in three states (in Vol. ii.), one 
being on satin, and an original water-color design on the false title. 



1936 — Meehan, Thomas. 

Native Flowers and Ferns of the United States, in their Botanical, Horticultural, 
and Popular Aspects. Illustrated by a large number of chromo lithographs. 
4 vols., royal 8vo, half morocco antique. 

Boston and Philadelphia, 1878-80. 

Both series. This is perhaps the only bdok of its nature published in the United 
States where the colored illustrations actually serve as a positive means of identifica- 
tion. 



1937 — Meissonier. 

His Life and His Art. By Vallery C. O. Greard. With extracts from his note- 
books, and his opinions and impressions on art and artists, collected by his 
wife. Translated by Lady Mary Loyd and Miss F. Simmons. 34 plates 
and 236 text illustrations. 4to, cloth, uncut. 

New York [London], 1897. 

1938 — Mexico et ses Environs. 

Collection de vues monumentales, paysages et costumes du pais. 2 maps and 48 
colored lithographs after C. Castro, Rodriguez, and Campillo. Edited by V. 
Debray. Folio, cloth. 

Mexico, 1869. 

Text in French and Spanish. 



1039 — Michelet, M. 

History of France. Translated by G. H. Smith. 2 vols., 8vo, cloth. 

New York, 1845. 

1940 — Milton, J. 

Poetical and Prose Works. Notes and Life by J. Mitford. 4 vols., 4to, half brown 
morocco extra, gilt top, uncut. Philadelphia, 1864. 

Large paper copy. 

1941 — Mirandola, Giovanni Pico della. 

Life. By his nephew Giov. Francesco Pico. Also three of his letters; his interpreta- 
tion of Psalm xvi. ; his twelve rules of a Christian life; his twelve points of a 
perfect lover; and his deprecatory hymn to God. Translated from the Latin 
by Sir T. More. Edited by J. M. Rigg. Imperial 8vo, half calf extra, gilt 
top, uncut. London, 1800. 

No. 45 of 60 large paper copies. 

1942 — Mollett,J. W. 

Modern Etchings of Celebrated Paintings, with essay, 20 etchings. 4to, half brown 
morocco, gilt top, uncut. 

London, 1883. 

^43 _ Montagu {Lady) Worthy. 

Letters and Works. Edited by Lord Wharncliffe. Portraits. 3 vols., 8vo, tree 
calf extra, by Riviere. 

London, 1837. 

1944 — Montrosier, Eugene. 

Artistes Modernes. Over 100 photogravures, etc. 3 vols., imperial 8vo, half 
brown levant morocco extra, gilt top, uncut. 



The photogravures are on India paper. 



Paris, 1881-8^. 



I945. — Moore, Frank. 

Diary of the American Revolution. Portraits. 2 vols., 8vo, cloth. 

New York, i860. 

1946 — Morgan, Mary Jane. 

Catalogue of the Art Collection of. Profusely illustrated. 4to, calf extra, gilt top, 
uncut. New York, 1886. 

No. 77 of 500 copies printed. 

1947 — Morris, Beverley R. 

British Game Birds and Wildfowl. 60 colored plates. 4to, half red morocco, gilt 
edges. London, 1885. 



1948 — Morse, Edward S. 

Japanese Homes and their Surroundings. Illustrated. Royal 8vo, cloth, gilt top, 
uncut. 

Boston, 1886. 

1949 — Moses, H. 

Antique Vases, Altars, Pater*, Tripods, Candelabra, Sarcophagi, etc. With de- 
scriptions by H. H. Baber, and 170 engravings, some in colors. 410, half 
calf, uncut. 

London [1814]. 

1950 — Motley, J. L. 

Rise of the Dutch Republic. Portraits. 3 vols., 8vo, half calf antique. 

New York, 1859. 

1951 — Muller, Max. 

Chips from a German Workshop. 4 vols., i2mo, cloth. 

New York, 1874-76. 

1952— M&lkr. 

Sketches of the Age of Francis L [No title-page.] 26 superbly colored plates of 
the interiors and exteriors of famous French Chateaux. Folio, half red morocco 
extra. 

1953 — Munich Gallery. 

Die K. Bayer. Gemalde-Galerie Pinakothek Munchen. Text by F. von Reber. 
50 India proof plates. Imperial folio, full morocco. 

Munich, n. d. 

Text in French and German. 

1954 — Muntz, Eugene. 

Histoire de I'art pendant la Renaissance. Numerous illustrations, some in color. 
3 vols., imperial 8vo, brown levant morocco, gilt back and sides, gilt top, 
uncut. 

Paris, 1889-95. 

1955 — Murray, A. S. 

History of Greek Sculpture. Illustrated. 2 vols., 8vo, uncut. 

London, 1890. 

1956 — Newport. 

Contribution to Bibliography and Literature of. By C. E. Hammett, Jr. 4to, half 
brown morocco, uncut. Newport, 1887. 

Only 200 copies printed. 

1957 — New York. 

Fiftieth Anniversary of the Founding of the Century Club. Illustrated. Royal 
8vo, cloth, gilt top, uncut. New Yo rk, 1897. 



1958 — Nodier, Charles. 

The Bibliomaniac. Translated from the French by Mabel Osgood Wright, and 
illustrated with a portrait as well as the original vignettes by Leloir. 8vo, 
vellum paper, uncut edges. New y orki l8g4 

Only 150 copies printed on Japan paper. 

1959 — Noritane, Ninagawa. 

Notice historique et descriptive sur les Arts Japonais. Art ceramique: poterie 
(Parts I.— VII.). 124 colored plates. Oblong 4to, paper (in cloth wrappers). 

Text in Japanese. Tokio, 1876-80. 

1900 — Nowell, Robert. 

Spending of the Money of. Edited by Rev. A. B. Grosart. 4to, half red mo- 
rocco extra, gilt top, title damaged. Manchester, 1877. 
Privately printed. 100 copies only. 

1961 — 0'Keeffe,John. 

Recollections of the Life of. Portrait. 2 vols., 8vo, calf extra, gilt edges, by 
Morrell. London, 1826. 

Unique copy, extra illustrated by the insertion of 82 plates. 

1962 — Oliphant (Mrs.). 

The Makers of Venice. Illustrations by R. R. Holmes. 8vo, cloth, gilt top, 
uncut. 

London, 1887. 

1963 — Painter, Wm. 

Palace of Pleasure. Edited by J. Jacobs. 3 vols., 410, cloth, uncut. 

No. 3 of 60 large paper copies. London, 1890. 

1964 — Palfrey John G. 

History of New England during the Stuart Dynasty. Maps. 3 vols., imperial 8vo, 
red levant morocco, gilt top, uncut. Boston, 1865. 

Large paper copy. 

1965 — Palissy, the Potter. 

A Memoir, etc. By Henry Morley. 2 vols., crown 8vo, half green levant mo- 
rocco, gilt top, uncut, by Tout. 

London, 1852. 

1966 — Palmer, A. H. 

Life and Letters of Samuel Palmer, Painter and Etcher. Portrait and plates. 8vo, 
cloth uncut - London, ,892. 



1967 — Palustre, Leon. 

La Renaissance en France. Dessins et gravures sous la direction de Eugene 
Sadoux. 3 vols., folio, red levant morocco extra, gilt edges. 

Paris, 1879. 

1968 — Palustre and Montault. 

Tresor de Treves. Illustrated. 4to, half red levant morocco, gilt top, uncut. 

No. 8 of so copies on Japan paper. Paris, n. d. 

1969 Another copy. 4to, paper, uncut. 

No. 6 of 50 copies on Japan paper. 

1970— Paris. 

Histoirc archcologiquc, descriptive et graphique, de la Sainte-Chapclle du palais. 
Par Decloux et Doury. 25 plates, some colored and heightened with gold. 
Folio, half maroon morocco, gilt top. 

Paris, 1875. 

1971 — Parts a Trovers les Ages. 

Text by A. Bonnardot, J. Cousin, and others. Numerous plates. 2 vols., folio, 
half red morocco extra, gilt top, uncut. 

Paris, 1885. 

1972 — Parker, J. H. 

Concise Glossary of Terms used in Architecture. Illustrated. Post 8vo, cloth. 

Oxford, 1866. 

1973 — Parkman, Francis. 

Works. Maps, etc. 8 vols., nmo, half calf. 



1974 — Pellatt, Apsley. 

Curiosities of Glass Making. Illustrated. 410, cloth, uncut. 



Boston, 188.2. 



London, 1849. 



1975 — Pepys, Samuel. 

Memoirs of: Comprising his Diary from 1659 to 1669, etc. Edited by Lord Bray- 
brooke. Fine steel portraits. 5 vols., 8vo, half calf, gilt top, uncut. 

Colburn, London, 1828. 

1976 — Pepys, Samuel. 

Diary and Correspondence of. Life and notes by Lord Braybrooke. Additional 
notes by Rev. Mvnors Bright. 10 vols., i2mo, cloth, uncut. 

New York, 1884. 



1977- — Percier and Fontaine. 

Recueil de decorations interieures, comprenant tout ce qui a rapport a l'ameuble- 
ment, etc. 72 plates in outline. Folio, half morocco. 

Paris, 1812. 

1978 — Perrot and Chipie*. 

Histoire de l'Art dans PAntiquite. I. L'Egypte. II. Chaldee et Assyrie. Pro- 
fusely illustrated. 2 vols., royal 8vo, half red morocco, gilt edges. 

Paris, 1882-84. 

1979 — Perrot and C/iipiez. 

History of Art in Ancient Egypt. Translated and edited by W. Armstrong. 14 
steel and colored plates, 598 engravings in the text. 2 vols., royal 8vo, half 
red levant morocco, gilt top, uncut. 

London, 1883. 

1980 — Perry, H. Beers. 

Old Burying-ground of Fairfield, Conn. Also an account of the " Rebuilding of 
the Tomb," July 8, 1881. 8vo, cloth. 

Hartford, 1883. 

1981— Persia. 

Monuments modernes de la Perse, mesures, dessines, et decrits. Par PascaJ Costc. 
71 plates. Folio, half red morocco. 

Paris, 1867, 

1982 — Petit and Bisiaux. 

Motifs de decorations. Extraites de Journal-Manuel de peintures. 100 plates in 
color. 2 vols., folio, half morocco. 

Paris, 1862. 

1983 — Picco/passi, Cyprian. 

Les Troys Libvrcs de l'Art du Potier. Translated into French by C. Popelyn. 
37 plates. 4to, half brown morocco extra, gilt top, uncut. 

Paris, i860. 

1984 — Piot, Eugene. 

Catalogue of the Collection of. 29 plates. 410, half brown levant morocco, gilt 
top, uncut. 

Paris, 1890. 

1985 — P/on, Eugene. 

Thorvaldsen : His Life and Works. Translated by Mrs. 0:shel Hoey. 39 steel 
and wood engravings. Royal 8vo, cloth. 

London, 1874. 



1986 — Poe t Edgar Allan. 

Histoires Extraordinaircs traduitcs par Charles Baudelaire. 13 illustrations. Nou- 
vclles Histoires, etc. 13 etchings. 2 vols., 8vo, half calf, gilt top. 

Paris, 1884. 

1987 — Pollard, A. W. 

Early Illustrated Books: a history of the Decoration and Illustration of Books in the 
15th and 1 6th Centuries. Illustrated. Crown 8vo, cloth, uncut. 

London. 1893. 

1988 — Polo, Marco. 

Hook Concerning the Kingdoms and Marvels of the East. Translated by Col. H. 
Yule. Illustrated. 2 vols., 8vo, cloth, uncut. 

London, 1875. 

1969— Porcelain. 

Interpretation des peintures dessinees sur un service dc table travaillc d'apres la bosse 
dans la royalc fabrique de porcelaine. Par ordre de Sa Majeste le Roi des 
Deux Siciles. 179 plates. 4to, half calf. 

Naples, 1787. 

1990 — Portalis [Baron) Roger. 

Les Dessinatcurs d'illustrations au i8ieme siccle. Etched frontispiece. 2 vols., 
8vo, half calf, citron edges. 

Paris, 1877. 

No. 396 of 500 copies on Holland paper. 

1991 — Portalis and Beraldi. 

Les Graveurs du i8ieme siecle. 3 vols, in 6, 8vo, half calf, citron edges. 

No. 477 of 500 copies on Holland paper. Paris, 1880-82. 

1992 — Porter, Noah. 

The Two-hundredth Birthday of Bishop George Berkeley (iVIarch 12, 1885). 
Frontispiece. 8vo, blue levant morocco, gilt back and sides, gilt top, uncut. 

New York, 1885. 

1993 — Pottier and Reinach. 

Ecole Francaise d'Athenes. La Necropole de Myrina. 51 plates. 2 vols., 4to, 
half brown levant morocco, gilt top, uncut, by Zaehnsdorf. 

Paris, 1888. 

Vol. ii. contains the plates. 

1994— Prescott, IV. H. 

History of the Conquest of Peru. Portraits. 2 vols., 8vo, half red morocco, gilt 
top, uncut. 

New York, 1848. 



1995 — Prescott, W. H. 

History of the Reign of Ferdinand and Isabella. Portraits, etc. 3 vols., 8vo, half 
brown morocco, gilt top. 

New York, 1848. 

1996 — Prescott, W. H. 

History of the Reign of Philip Second. Portraits. 3 vols., 8vo, half maroon 
morocco, gilt top, uncut. Boston, 1855-58. 

First edition. 



j997 _ Prescott, W. H. 

Life of. By George Ticknor. 
Large paper copy. 



Portrait. 4X0, cloth, uncut. 



Boston, 1864. 



1998— Prevost, Abbe. 

Histoirc de Manon Lescaut, etc. Essay by Houssaye. 6 etchings by Hedouin. 
2 vols., i2mo, half red levant morocco, gilt top, uncut. Paris, 1874. 

Holland paper copy. 

1999 — Prevost, Abbe - . 

History of Manon Lescaut, etc. Preface by de Maupassant. Illustrated by M. 
Leloir (12 full-page illustrations). Royal 8vo, brown levant morocco, mosaic 
back and sides, with rich gold tooling, inside borders, gilt edges. 

London, 1886. 

20m — Propert,J. L. 

History of Miniature Art. With notes on collectors and collections. Numerous 



plates. 4to, cloth, uncut 

200 1 — Protestantism. 

Socictc de l'histoire du protestantisme francais. 
levant morocco, gilt top, uncut. 



London, 1887. 

Illustrated. 8vo, half green 
[Paris, 1898.] 



2002 — Pugin, A. Welby. 

Floriated Ornament. A series of 31 designs, colored. 4.to, half red morocco, gilt 
top. 

London, 1875. 

2003 — Quantin Classics. 

Leucippe et Clitophon. Par A. Tatius. Translated by A. Pons. 1880. Dia- 
logues des Courtisanes. Translated by Pons. 188 1. Poesies de Anacreon 
et de Sapho. Translated into verse by M. de la Roche-Aymon. 1882. 
Jason et Medee. Par Apollonius de Rhodes. Translated by Pons. 1882. 
All illustrated, partly in color. 4 vols., i6mo, brown levant morocco, 

. Janseniste, gilt edges. Quantin, Paris, 1880-82. 



2004 — Ouarles, Francis. 

Emblems, Divine and Moral. With a sketch of the life and times of the author. 
Illustrated. 410, red straight grain morocco, gilt edges. 

London, 1859. 

200b — Rahelais, F. 

CEuvres de. 3 vols., 8vo, calf (Vol. I. loose in covers). 

Paris, 1823. 

Includes Contes Drolatiques, with curious illustrations. 

2006— Racinet, M. A. 

Costume Historique, avec notices explicatives, introduction, et glossaire. 500 
plates (300 in gold, silver, and color, 200 tinted). 6 vols., folio, blue levant 
morocco, gilt, gilt edges. 

Paris, 1888. 

Large paper copy. 

2007 — Raphael. 

La Fable dc Psyche et L'Amour. 32 plates engraved in outline by Marchais. 
India proofs. Folio, half levant morocco, gilt top. 

Paris, 1868. 

2008— Reade, Charles. 

Works. Illustrations by J. Gilbert and Charles Keene. 17 vols., crown 8vo, half 
calf extra. 

London, n. d. 

2009 — Reber, Dr. Franz von. 

History of Medieval Art. Translated by J. T. Clarke. 422 illustrations, and 
glossary. 8vo, cloth. 

New York, 1887. 

2010 — 7?«i/, S.J. 

Sketch of Life and Times of the Rev. Sydney Smith. Portrait and illustrations. 
8vo, cloth. 

New York, 1885. 

201 1 — Rein, J. J. 

Industries of Japan. 44 illustrations, some colored, and 3 maps. 8vo, cloth, gilt 
top. 

New York, 1889. 

201 2 — Reiss and Stubel. 

Necropolis of Ancon in Peru : contribution to our knowledge of the culture and 
industries of the Empire of the Incas. Translated by A. H. Keene. 119 
plates in color. 2 vols., folio, green morocco extra, gilt top, uncut. 

London, 1881. 

With volume of Indexes (in board wrappers). Berlin, 1880-87. 



2013 — Rembrandt. 

L'CEuvre de: decrit et commente. Par C. Blanc. 4 vols., folio, half brown 
levant morocco, gilt top, uncut. Vol. I. contains the pl3tes, Vol. IV. the 
large plates. 

Paris, 1880. 

20 14 — Rembrandt. 

Sa Vie, son CEuvre, et son temps. Par Emile Michel. Portrait and 343 reproduc- 
tions. Imperial 8vo, half brown levant morocco. 

Paris, 1893. 

2015 — Reumont, Alfred von. 

Lorenzo de' Medici, il Magnifico. Portraits. 2 vols., 8vo, half calf, citron edges. 

Leipzig. 1883. 

2016 — Revolution. 

Year Book of the Society of the Sons of the Revolution. Illustrated. 4to, cloth, 
uncut. 

New York, 1893. 

2017 — Reynolds, F. 

Life and Times of. Portrait. 2 vols., 8vo, half red levant morocco, gilt top, 
uncut. 

London, 1826. 

2018 — Reynolds [Sir) Joshua. 

Life and Times of. With notices of some of his contemporaries, etc., by C. R. 
Leslie and Tom Taylor. Illustrated. 2 vols., 8 vo, half green morocco extra. 

London, 1865. 

20 1 9 — Rheims Cathedral. 

Tapisseries de la Cathedrale de Reims. 20 plates. Text by Ch. Loriquet. Folio, 
blue morocco, gilt and mosaic, gilt edges. 

Paris, 1882. 

No. 40 of 50 copies on Holland paper. 

2020 — Ricauti, T.J. 

Rustic Architecture. Picturesque decorations of rural buildings in the use of rough 
wood, thatch, etc. 42 plates. 4to, half brown morocco. 

London, 1842. 

202 1 — Richardson, Charles. 

Dictionary of the English Language. 2 vols., 4to, half red calf extra. 

London, 1863. 

2022 — Richardson, C. J. 

Architectural Remains of the Reigns of Elizabeth and James I. Numerous plates, 
some in color. 2 vols., royal folio, boards. 

London, 1838-40. 



2023 — Richardson, Henry Hobson, and his Works. 

By Mrs. Schuyler Van Rensselaer. Portrait and other illustrations. 4to, half 
cloth, gilt top, uncut. 

Boston, 1888. 

2024 — Rijks museum. 

Die Meisterwerke des Rijksmuseum zu Amsterdam. Text by A. Bredius. Num- 
erous full-page and half-page photogravures. Folio, brown morocco, gilt 
back and sides, gilt top, uncut. 

Munich, n. d. 

2025 — Riley, J. W. 

Old-fashioned Roses. Post 8vo, blue morocco extra, gilt top, uncut. 

London, 1891. 

2026— Riordan, Roger. 

A Score of Etchings. With text. 20 etchings by Hamerton, Haden, Herkomer, 
Wakner, C. Hunter, etc. Folio, cloth gilt, gilt top, uncut. 

New York, n, d. 

2027 — Roberts, W. 

Printers' Marks. Illustrated. 8vo, vellum paper, uncut. 

London, 1893. 

No. 53 of 75 copies printed on Japanese vellum. 

2028 — Robertson, Alex. 

Bible of St. Mark. The Altar and Throne of Venice. 83 illustrations. 410, 
cloth, uncut. 

New York, 1898. 

2029— Robertson, Wm. 

Works: India. Map. 1804. History of Scotland. Portrait. 1806. 3 vols. 
History of Reign of Charles V. Frontispiece. 1806. 4 vols. History of 
America. Maps. 1808. 4 vols. Together, 12 vols., 8vo, half green 
morocco. 

London. 1804-08. 

2030 — Robida, A. 

La Vieille France. La Touraine. Profusely illustrated. 410, half blue levant 
morocco, gilt top, uncut, by Zaehnsdorf. 



Paris, n. d. 



2031 — Robinson, Vincent J. 



Eastern Carpets: twelve early examples. Preface by Sir George Birdwood. 24 
colored illustrations after water-color drawings by E. Julia Robinson. 2 vols., 
folio, cloth, uncut. 

London, 1882-93. 



2032 — Rogers, IV w. B. 

Life and Letters. Edited by his Wife and W. T. Sedgwick. Portrait, etc. 2 
vols., i2mo, cloth, gilt top, uncut. 

Boston, 1806. 

2033 — Rome. 

Select Collection of Views and Ruins in Rome and its Vicinity. 62 colored plates. 
Folio, half morocco. London, n. d. 

Large paper copy. 

2034 — Romney, George. 

Life of. By W. Hayley. Numerous fine engravings by Caroline Watson. 4to, 
green straight grain morocco, back and sides gilt and blind tooled in panels, 
gilt edges. 

Chichester, 1809. 

2035 — Rose, Henry. 

Three Lectures 011 Architecture in England, from the Earliest to the Present Time. 
Illustrated. 8vo, cloth, uncut. 

London, 1843, 

2036 — Rousseau, J. J. 

Les Confessions. 13 etchings by Ed. Hedouin. 4 vols., !2tno, half maroon levant 
morocco, gilt top, uncut. 

Paris, 1 88 1. 

2037 — Roivlandson, Thomas, the Caricaturist. 

Selection from his Works, with anecdotal descriptions of his famous caricatures, by 
Joseph Grego, and nearly 400 facsimile illustrations. 2 vols., imperial 8vo, 
half red morocco, gilt top. 

London, 1880. 

2038 — Royal Academy of Arts. 

Catalogue of Exhibition, 1886. (118th.) Illustrated. 4to, cloth, gilt edges. 

London [1886]. 

2039 — Rubaiyat of Omar Khayyam. 

Rendered into English verse by E. Fitzgerald. i6mo, vellum paper, uncut. 

-^.^-^ Mosher, Portland, 1808. 

925 copies printed. 

2040 — Rubens, P. P. 

L'CEuvre dc: histoire et description de ses tableaux et dessins. Par Max Rooses. 
430 plates. 5 vols., 4to, half olive levant morocco extra, gilt top, uncut. 

Antwerp, 1886-92. 



2041 — Ruskin,John. 

Art Works as follows: Seven Lamps of Architecture. 1849. Stones of Venice. 
3 vols. 1851-67. Modern Painters. 5 vols. 1860-68. 9 vols., royal 
8vo, half calf extra. 

London, 1840-68. 

The above nine volumes arc all early editions. The fifth volume of the " Modern 
Painters " is the first edition as well as the Seven Lamps." The famous illustrations 
are all included. 



2042 — Russell, John, R.A. 

By G. C. Williamson. Introduction by Lord Ronald Gower. Numerous illustra- 
tions. 4to, cloth, gilt top, uncut. 

London, 1894. 

2043 — Sabouroff Collection. 

Monuments de Part Grec. Publies. Par A. Furtwaengler. 149 plates. 2 vols., 
folio, red morocco, gilt back and sides, gilt top, uncut. 

Berlin, 1883-87. 

2044— Safford, W. H. 

Blennerhassett Papers. Portraits. 8vo, cloth. 

Cincinnati, 1864. 

2045 — Savage,/. 

Genealogical Dictionary of the First Settlers of New England. 4 vols., 8vo, cloth, 
uncut. 

Boston, i860. 

2046 — Scarron, P. 

Roman Comique. Preface by P. Bourget. Portrait and other etchings by Leopold 
Flameng. 3 vols., i2mo, half red levant morocco, gilt top, uncut. 

Paris, 1880. 

Holland paper copy. 



2047 — Schaff and Oilman (editors). 

Library of Religious Poetry. Portrait. Royal 8vo, cloth. 

New York, 1885. 

2048— Schliemann, H. 

Tiryns. 188 woodcuts, 24 plates, map, etc. Royal 8vo, ornamental cloth, gilt 
top. 

New York, 1885. 

2049 — Schuyler, George. 

Colonial New York : Philip Schuyler and his family. 2 vols., l2mo, cloth, gilt 
top, uncut. 

New York. 1885. 



2050— Scott (Sir) Walter. 

Waverley Novels. With 120 steel engravings and 2,000 woodcuts. 12 vols., royal 
8vo, calf gilt, gilt edges. Edinburgh, 1842. 

In spite of the temporary vogue of other editions, the above, known as the 
" Abbotsford." is still the most attractive. The illustrations are by Turner, Wilkie, 
Stanfield, Martin, Allom, Nasmyth, and other equally famous artists. 



2051 — Scudder, Sam. H. 

Butterflies of Eastern United States and Canada. With special reference to New 
England. Portraits, maps, and 89 plates, some in colors. 3 vols., royal 8vo, 
half citron morocco extra, gilt top, uncut. 

Cambridge, 1889. 

2052 — Sedelmeyer Gallery Catalogue. 

Second hundred. Illustrated. Royal 8vo, brown levant morocco gilt, gilt top. 

Paris, 1885. 

2053 — Sedelmeyer Gallery. 

Illustrated. Royal 8vo, half green levant morocco, extra, gilt top. 

Paris, 1898. 

2054 — Selby, Prideaux John. 

History of British Forest Trees. Nearly 200 illustrations. 8vo, cloth, uncut. 

London, 1842. 

2055 — Shakespeare. 

Dramatic Works. Edited, with a glossary and various readings, by Sir Thomas 
Hanmer. Numerous fine engravings on copper by Gravelot, from Hayman's 
designs. 6 vols., 41.0, half red morocco, gilt top, uncut. 

Oxford, 1770. 

205 G — Shakespeare and the Emblem Writers. 

An exposition of similarities of thought and expression. By Henry Green. Num- 
erous illustrations from old engravings. Royal 8vo, green levant morocco, gilt 
top, uncut. 

London, 1870. 

Large paper copy. 



2057 — Shakespeare Society. 

A complete set of the publications. 47 parts, in 18 vols., 8vo, calf extra, gilt top, 
uncut, by Riviere. London, 1841-53- 

Consists of nearly fifty different works illustrative of Shakespeare: Old Plays, 
Poems, Curious Tracts, Memoirs, etc. 



London, 1836. 



2058 — Shaw, Henry. 

Dresses and Decorations of the Middle Ages. Numerous colored plates and other 
illustrations. 2 vols., royal 8vo, red levant morocco, gilt back and sides, gilt 
edges, by Bain (original covers bound in). 

Pickering, London, 1843. 

An original copy. 

2069 — Shelley, Percy B. 

Works of. Portrait. i6mo, cloth, uncut. 
2060— Simms, W. Gilmore. 

Works. Frontispieces. 10 vols., nmo, half calf extra. 

New York, 1882. 

2061 — Siret, Adolphe. 

Dictionnaire historique et raisonne des peintres dc toutes les ecoles. Illustrated. 
2 vols., royal 8vo, half brown morocco, gilt top, uncut. 

London, 1883-84. 

2062 — Smiles, Samuel. 

Lives of the Engineers, including Boulton and Watt. Illustrated. 4 vols., 8vo, 
tree calf extra. 

London, 1861-65. 

2063 — Smiles, S. 

Huguenots in England and Ireland. Frontispiece. Crown 8vo, cloth, uncut. 

London, 1889- 

2064— Smith,/. 

Catalogue Raisonne of the Works of the most Eminent Dutch, Flemish, and French 
Painters. With biographical notices and the prices at which the pictures have 
been sold, etc. Portraits. 9 vols., royal 8vo, calf. London, 1839-42. 

Complete, with the supplement, and now so scarce that copies are almost unpro- 
curable. 

2065 — Smith, John Chaloner. 

British Mezzotint Portraits. Frontispieces. 4 vols., royal 8vo, cloth, uncut. 

London, 1884. 

2066 — Smith, William. 

Dictionary of the Bible. Illustrated. 3 vols., 8vo, cloth. 

Boston, 1863. 

2067 — South, Robert. 

Sermons Preached upon Several Occasion*. Vols. I. and II. 2 vols., 8vo, half 
brown morocco, gilt top, uncut. 

New York, 1866-67 



2068— Southey, R. 

Beauties of Prose Works of. Crown 8vo, calf extra, gilt edges. 



London, 1833. 



2069 — South Kensington Museum. 

Drawings of Glass Cases, with Suggestions for the Arrangement of Specimens. 55 
plates, many colored. Royal 8vo, half green morocco. 

London, 1877. 

2070 — South Kensington Museum. 

Examples of the works of art in the Museum and of the decorations of the building, 
with brief descriptions. 80 plates. Folio, cloth, gilt top (loose in covers). 

London, 1882. 

2071 — Spanish Portraits, etc. 

Iconografia Espanola. Coleccion dc retratos, estatuas, mausoleos y demas monu- 
mentos ineditos de reyes, reinas, grandes capitancs, escritores, etc., desde 
el siglo XI hasta el XVII. Nearly 100 illustrations by V. Carderera y 
Solano, many in colors. 2 vols., folio, half Spanish morocco extra, gilt top, 
uncut. 

Madrid, 1855-64. 

Spanish and French text. 

2072 — Spenser, Edmund. 

Complete Works in Prose and Verse. Edited, with life, glossary, etc., by the Rev. 
Alex. B. Grosart. 10 vols. [?"], 8vo, cloth, uncut. 

London, 1882-84. 

Only 100 copies printed. 

2073 — Spenser, Edmund. 

Epithalamion. Illustrated by G. W. Edwards. 8vo, vellum, gilt, uncut. 

450 copies printed on Japan paper. New York " i8q3- 

2074 — ■ Spitzer Collection. 

Illustrated Catalogue. 9 vols., folio, half blue levant morocco, gilt edges. Vol. 
VII. is an imperial folio (half green levant morocco, gilt top), containing 68 
plates. London, 1800-03. 

No. 158 of 600 copies on vellum paper, with all the superb plates. 

2075 — Sprague and Goodale. 

Wild Flowers of America. 50 colored plates. 4.to, half brown levant morocco, 
gilt edges. 

Boston, 1882. 



207 G — Stafford Gallery. 

Catalogue of the Collection of the Marquis of Stafford. By W. Y. Ottley. 4 vols, 
in 2, folio, half red morocco, gilt top, uncut. 

London, 1818. 

2077 — Starforth,J. 

Designs for Villa Residences. With descriptions. 40 plates. 410, cloth. 

Edinburgh, 1866. 

2018 — Stedman, E. C. 

Poets of America. Portrait. 2 vols., 8vo, half citron morocco, gilt top, uncut. 
No. 24 of 150 copies printed on large paper. Cambridge, 1885. 

2079 — Stedman, E. C. 

Victorian Poets. 2 vols., 8vo, half brown morocco, gilt top, uncut. 

No. 24 of 250 large paper copies- Cambridge, 1887. 

2080— Stephens, F. G. (editor). 

Artists at Home. Biographical notices and descriptions. 25 plates. Folio, half 
olive morocco, gilt top, uncut. 

London, 1884. 

2081 — Stephens, John L. 

Incidents of Travel in Central America, Chiapas, and Yucatan. Numerous illustra- 
tions. 2 vols., 8vo, half brown morocco, gilt top. 

New York, 1841. 

2082 — Sterne, Laurence. 

Sentimental Journey through France and Italy. 12 full-page illustrations and num- 
erous sketches in the text, after Maurice Leloir. 4to, cloth, gilt top, uncut. 

™™ „ New York, 1884. 

2083 — Stewart, Sir H. 

Planter's Guide. Portrait. 8vo, cloth, uncut. 

Edinburgh, 1848. 

2084— Stewart, A. T. 

Catalogue of Paintings, Sculptures, Books, etc. Illustrated. Folio, parchment. 

New York, 1887. 

No. 37 of 100 copies printed, with signed proof impressions of the illustrations. 

2085 — Stirling-Maxwell, Sir Wm. 

Annals of the Artists of Spain. Portrait and 24 plates. 4 vols., 8vo, half brown 
levant morocco, gilt top, uncut. 

London, 1891. 

Large paper copy, with illustrations in two states. 



2086— Storrs (Rev.) R. S. 

Early American Spirit and the Genesis of it. The Declaration of Independence and 
the effects of it. Royal 8vo, half brown morocco, gilt top, uncut. 

No. 116 of 150 large paper copies. New York, 1878. 

2087 — Stranahan, C. H. 

History of French Painting. 16 illustrations. 8vo, cloth, gilt top, uncut. 

New York, 1888. 

2088 — Strawberry Hill Catalogue. 

Horace Walpole's collection of paintings, antiques, etc. Portrait on India paper. 
4 to, half green morocco. London, 1842. 

Priced. Unique copy, extra illustrated by the insertion of 74 additional portraits 
and prints. 

2089 — Street, George E. 

Brick and Marble in the Middle Ages. Notes of a tour in the north of Italy. Pro- 
fusely illustrated. 8vo, cloth, uncut. 

London, 1855. 

2090 — Stuart, R. L. 

Catalogue of the Library of. 4-to, cloth, uncut. 

New York, 1884. 

Privately printed for presentation only. 
2091 — Another copy. Similarly bound. 

2092 — Surtees, S. R. 

Hillingdon Hall; or, The Cockney Squire. 12 colored plates by Wildrakc, Heath, 
etc. 8vo, cloth, uncut. 

London, 1888. 

2093 — Swift, Jonathan. 

Works. Life, etc., by Sir W. Scott. Portrait. 19 vols., 8vo, half calf, gilt top, 

uncut - London, 1883-84. 

No. 524 of 750 copies printed. 

2094 — Swift. 

Gulliver's Travels. With a memoir by Saintsbury. 240 illustrations, mostly 
colored. Royal 8vo, cloth, gilt top, uncut. 

London, 1886. 



2095 — Sybel, Ludwig von. 

Wcltgeschichte der Kunst bis zur Erbauung der Sophienkirche. Colored frontis- 
piece and 380 illustrations. Royal 8vo, half maroon calf, gilt top, uncut. 

Marburg, 1888. 

2096— Tame, H. A. 

Tour through the Pyrenees. Translated by J. F. Fiske. Illustrated by Dore. 
410, cloth, gilt edges. 

New York, 1874. 

2097 — 7*.^, T. 

Jerusalem Delivered. Translated by J. H. Wiffen. Portrait. 2 vols., post 8vo, 
half blue calf extra, gilt top, uncut. 

London, 1830 

2098 — Taylor, Isaac. 

Etruscan Researches. Illustrated. Crown 8vo, cloth, uncut. 

London, 1874. 

2099 — Taylor, Jeremy. 

Rule and Exercises of Holy Living and Holy Dying. Portrait. 2 vols. 8vo 
brown morocco antique, gautfred gilt edges. 

Pickering, London, 1847 

2100 — Ticknor, George. 

History of Spanish Literature. With criticisms and biographical notices. 3 vols., 
8vo, half blue calf extra, gilt top, uncut. 

London, 1855. 

2101 — Ticktior, George. 

Life, Letters, and Journals. Portraits. 2 vols., 8vo, cloth. 

Boston, 1876. 

2102— Tissot, Victor. 

Unknown Switzerland. Translated by Mrs. Wilson. Numerous photographs. 
8vo, cloth, gilt top, uncut. 

New York, n. d. 

2103— Titian. 

La Vie et l'CEuvre de Titien. Par G. Lafencstre. Portrait and numerous other 
illustrations. Folio, half brown levant morocco extra, gilt top. 

No. 56 of 800 copies printed. Quantin, Paris, n. d. 



2104 — Toscanelli Collection. 

Catalogue, with 52 plates. 410, cloth. 



N. p., n. d. 



2105 — Tourzel (Duchess) de. 

Memoirs of. Published by the Duke des Cars. 2 vols., 8vo, cloth, uncut. 

London, 1886. 

210G — - Tuckerman, Bayard. 

William Jay and the Constitutional Movement for the Abolition of Slavery. Preface 
by John Jay. Portrait. 8vo, cloth, gilt top. 

New York, 1893. 

2107 — Tudor Collection. 

Exhibition of the Royal House of. Illustrated. 4to, cloth. 

London, 1890. 

2108— Tuscany. 

Monumenti Sepolcrali della Toscana. 47 plates after outline designs by V. Gozzini. 
Folio, half red morocco, uncut. 

Florence, 1819. 

2109— U/ide, CoTistantin. 

Baudenkmaelcr in Grossbritannien. Illustrated. 2 vols., folio, half brown mo- 
rocco, gilt top. 

Berlin, 1894. 

2110— linger, Wm. 

Les CEuvres de. 72 fine proof etchings, with notes by C. Vosmaer. Imperial 
folio, red morocco extra, gilt top, uncut. 

Leyde. 1874 

2111 — Uzanne, Octave. 

La Chronique Scandaleuse. 1879. Anecdotes sur la Comtesse du Barry. 1880. 

La Gazette de Cythere. 1881. Les Mceurs Secretes du XVIII e Siecle. 

1883. 4 vols., royal 8vo, half blue calf extra, uncut. . Q ,^ ft , 
. . London, i879-°3- 

ttched frontispieces. 

2112 — - Uzanne, Octave. 

L'Eventail. Illustrations by Paul Avril, printed in colors. Royal 8vo, half red 
morocco, gilt top, uncut. 

Paris, 1882. 

2113 — Uzanne, Octave. 

La Francaise du Siecle. Modes, Mceurs, Usages. Water-color drawings by Albert 
Lynch, etched in colors by E. Gaujcan. Royal 8vo, half brown morocco, gilt 
top, uncut. 

Paris, 1886. 

No. 60 of 100 copies on Japan paper, with illustrations in two states. 



2114 — Van Dyck, Antoine. 

Sa Vie et son CEuvre. Par Jules GuiffYey. Numerous illustrations, including full- 
page etchings, etc. Folio, half red levant morocco, gilt top. 

Paris, 1882. 

2115 — Van Dyck. 

A collection of 124 fine engravings by Lombart, Vaillant, Marin, Faber, McArdell, 
Ogborne, and others, after the masterpieces of Van Dyck. Some proof im- 
pressions. 4to, half morocco. 

2116— Van Ysendyck, J. J. 

Documents classes de Part dans les Pays-Bas du X'* rae au XVIII''" 1 ' siecle. 1880- 
January to June, 1881 ; 1886-87; 1888-89. Over 500 plates. Together,' 
5 vols., folio, half citron levant morocco extra, gilt top, uncut. 

ft11( . „ _ , Antwerp. 1880-89. 

21 1 7 — Vaux, Calvert. 

Villas and Cottages. Illustrated. 8vo, cloth. 

New York, 1857. 

2118 — V dasquez. 

Works of. Being a reproduction of 17 scarce and fine prints in the British Mu- 
seum, selected and described by G. W. Reicf. Folio, half red morocco, gilt 
top. 

London, 187a. 

2119 — Velazquez and Murillo. 

Descriptive and Historical Catalogue of the Works of. Comprising a classified list 
of their paintings, with descriptions ; their history from the earliest known dates -, 
names of present and former owners, etc., by C. B. Curtis. 4 plates. Folio, 
morocco extra, gilt edges. 

xt c 1 , ... . . New York, 1883. 

No. 13 of 100 large paper copies, with plates in three states. 

2120— Venice. 

Basilica di San Marco. Dettagli di Altari, Monumenti, Scultura, etc. 8 vols, and 
2 atlas folio vols, with brilliant colored plates. II Tcsoro. 2 vols. Docu- 
menti. Mosaici Secondarii. Pavimcnto. Together, 15 vols., folio, morocco 
extra. With an extensive scries of illustrations, many in colors. 

Venice, 1881-86. 

2121 — Venice. 

The Basilica of S. Mark in Venice. Illustrated from the points of view of art and 
historv, by Venetian writers under the direction of Professor Camillo Boito. 
Translated by W. Scott. 41.0, morocco extra. 

Venice, 1888. 



1122 — Venice. 

Raccolta dellc Vcre da Pozzo (Marmi Pluteali) in Venezia, Illustrated. 2 vols., 
4to, half blue morocco, gilt top, uncut. Venice, 1889. 

100 copies printed. 

2123 — Venice. 

II Gran Teatro di Venezia overo raccolta delle principali vedute e pitture che in 
essa si contengono. With the extensive series of copper-plate illustrations. 
2 vols., folio, half brown morocco extra. 

[Venezia, n. d.] 

2 1 24 — Viollet-le-Duc. 

Dictionnaire raisonne de l'Architecture Francaise du XI* au XVI' Siecle. Portrait 
and other illustrations. 10 vols., 8vo, half red morocco, gilt top. 

Paris, 1858-68. 

2125— Viollet-le-Duc. 

Dictionnaire raisonne du Mobil ier francais de Pepoque Carlovingienne a la Renais- 
sance. Profusely illustrated. 6 vols., royal 8vo, half green levant morocco 
extra, gilt top, uncut. PariSi 1873-75. 

No. 25 of 100 copies printed. 

2126 — Virpl 

Works. Englished by R. Andrews. 8vo, calf, gilt. 

Baskcrville, Birmingham, 1766. 

2127 — Vitu, Auguste. 

Paris. 450 dessins inedits. 4to, half calf, gilt top, uncut. 

Quantin, Paris, n. d. 

$128 — Waldstein, C. 

Essays on the Art of Phidias. Illustrated. Royal 8vo, cloth, gilt top, uncut. 

Cambridge (U. S.), 1885. 

2129 — Walsh, J. H. {Sionehenge). 

The Horse in the Stable and the Field. 170 illustrations. 8vo, cloth, uncut. 

London, i860. 

2130 — Walton and Cotton. 

Complete Angler. Edited by Dr. Bcthune. Portraits, etc. i2mo, cloth, uncut. 

New York, 1847. 

2131 — Walton and Cotton. 

Complete Angler. With notes, a bibliographical preface, a catalogue of books on 
angling, etc., by the Rev. Geo. W. Bethune. Numerous steel plates and 
woodcuts. 2 vols., royal 8vo, half brown levant morocco extra, gilt top, 

uncut - New York, 1880. 

Large paper copy. No. 22 of 100 printed. 



2132 — Walton, Isaac. 

Lives of Donne, Wotton, Hooker, Herbert, and Sanderson. Portraits. Crown 
8vo, green calf, gilt back and top, gilt edges. 

London, 1858. 

2133 — -Another copy. Brown morocco, blind tooled, gilt edges. 



2134— Waring, J. B. 

Masterpieces of Industrial Art and Sculpture at the International Exhibition, 1862. 
Illustrated by a large number of superb plates in gold, silver, and colors. 3 
vols., folio, richly bound in red morocco extra, gilt edges. 

London, 1863. 

2135 — Washington Family. 

Pedigree and History of, By Albert Welles, Portraits, etc. 8vo, cloth, gilt edges. 

New York, 1879. 

2 1 3G — Washington Arch, History of. 

Illustrated. 4to, vellum, gilt top, uncut. 

, New York, 1896. 

Edition de luxe. 



2137 — Watson, P. W. 

Dendrologia Britannica, or Trees and Shrubs that will Live in the Open Air of 
Britain, etc. 172 colored plates. 2 vols., 8vo, half calf. 

London, 1825. 

2138 — Wedgwood, Josiah. 

Life of. From his correspondence, family papers, and other original sources. 
With an introduction relative to the art of pottery in England. By Eliza 
Meteyard. Portrait and numerous other illustrations. 2 vols., 8vo, brown 
morocco antique, medallions of Wedgwood ware on the sides, gilt edges. 

London, 1865-66. 

2139 — Wheatley, H. B. 

Remarkable Bindings in the British Museum, selected for their beauty or historic 
interest. 62 plates. 41.0, boards, uncut. 

London, 1889. 

41 of 150 large paper copies. 



2 1 40— White, R. G. 

National Hymns. 8vo, cloth. 



New York, 1861. 



2141 — Wilkif, Sir David. 

Life of. With his Journals, etc. By Allan Cunningham. Portrait. 3 vols., 8vo, 
calf extra, gilt top, uncut. London, 1843. 

Unique copy, extra illustrated by the insertion of 30 plates, some of them India 
proofs. 

2142— Wilkinson, Wm. 

English Country Houses. 61 views and plans. 8vo, cloth. 

London, 1875. 

2143 — Williams, John Lee. 

Territory of Florida. Portrait, 2 views and map. 8vo, cloth. 

New York, 1837. 

2144— Wilson, J. 

Noctes Ambrosiana;. Portraits. 4 vols., crown 8vo, half brown morocco, gilt 
top, uncut. 

Edinburgh, 1864. 

2145 — Winckelmann, John. 

History of Ancient Art. Translated by G. H. Lodge. Numerous plates. 4 vols., 
4to, brown morocco, gilt back and sides, gilt edges. Boston, 1880. 

No. 92 of 100 large paper copies. 

2146 — Another copy. Also on large paper. With Dr. Emil Braun's " Introduction 
to the Study of Art Mythology. Translated by John Grant. Gotha, 1856," 
containing 100 plates in outline. Together, 5 vols., 410, half brown levant 
morocco, gilt top, uncut. 

No. 86 of 100 copies printed. Extra illustrated by the insertion of 163 folio en- 
gravings. 

2U7 — Wood,J. G. 

Illustrated Natural History. Reptiles, Fishes, Insects. 1863. Birds. 1862. 
Many hundred woodcuts. 2 vols., royal 8vo, cloth, uncut, and half calf 
extra. 

London, 1862-63. 

2148— Worcester, J. E. 

Dictionary of the English Language. 4to, half red morocco (loose in covers). 

Boston, i860. 

2149 — Wordsworth, William. 

Poetical Works. 8 vols. Life of Wordsworth. 3 vols. Edited by William 
Knight, with portraits and frontispieces. 1 1 vols., royal 8vo, half brown 
levant morocco, gilt top. 

Edinburgh, 1882-89. 

No. 69 of 115 copies on large paper. 



2150— Wordsworth, W. 

Poetical Works. Portrait. 6 vols., post 8vo, cloth, uncut, 



London, 1864. 



2151 — Wornum, Ralph N. 

Epochs of Painting. Illustrated. 8vo, half brown morocco, gilt top, uncut, 

London, 1864. 

2152— Wyon, Alfred B. and Allan, 

Great Seals of England. 55 plates, 410, cloth gilt, gilt edges. 

London, 1887. 

No. 130 of 300 copies printed. 

2153 — Yriarte, Charles. 

Florence: its history, etc. Translated by C. B. Pitman. 500 illustrations. 4to, 
cloth extra, gilt edges. 

London, 1882. 

2 1 54 — Zanotto, Francesco. 

Le Fabbriche e i Monument! cospicui di Venezia. Over 200 fine plates. 2 vols., 
imperial folio, half red levant morocco, gilt top, uncut. 

Venezia, 1858. 



AMERICAN ART ASSOCIATION, 
Managers. 



THOMAS E. KIRBY, 
Auctioneer. 



THE H. G. MARQUAND COLLECTION 



Addenda 



Etchings and Engravings 



hah;, axhl iihrman 

Celebrated Swedish etcher. His beautiful etchings of cathedral interiors are master- 
pieces of architectural skill and knowledge. 



145 lo — Vespers. 



Signed artist's proof on Whatman paper. Oak frame. 
There were printed of this plate 150 proofs only. 



1 45 1 1> — Interior of Toledo Cathedral. — 

Signed artist's proof on Whatman paper. Oak frame. 
There were printed of this plate 350 proofs only. 




/ to 



145 1e — Interior of Burgos Cathedral. ^ *JV 

Signed artist's proof on Whatman paper. Gold frame. 
This is usually considered to be the eteher's masterpiece. 



1 45 1 9 — Exterior of Burgos Cathedral. 

Signed artist's proof on Whatman paper. Oak frame. 
There were printed of this plate 400 proofs only. 



loo 



HENRIQUEL-DUPONT, LOUIS PIERRE 

Born at Paris, 1 797. 

^ " Le plus relebre graveur du XIX* Siecle."— HENRI Berai.di. Us Gravevrs du 

» XIX' Sitcle. vol. viii., p. 77. 

1 45 1 G — The Mystic Marriage of Saint Catherine. 

After the painting by Correggio, in the Louvre. Bcraldi, No. 93. 

Proof before all letters, on India paper, signed bv the engraver. Gold frame. 




S 



MACBETH, ROBERT VV. 

( Kor note see Catalogue. ) 

1471a — The Garden of Love. 

After the painting by Titian, in the Madrid Gallery. 

Signed artist's proof upon Japanese paper laid into handmade paper. Oak frame. 



WATSON, CHARLES j. 

"The work of Mr. C. J. Watson is nearly always absolutely sturdy and sterling. 
— Frederick Wedmore, Kicking in England, p. 103. 



L499i — Lincoln. 



Signed artist's proof. 

There were printed of this plate 150 proofs only. Gold frame. 



KOEPPING. CHARLES 

Bom in 1848, at Dresden. Removed to Paris, and studied etching under Charles 
Waltner, one of the most brilliant "translator-etchers" of the modern school. 

v 

1455 a — Portrait of an Old Man. 

After the painting by Rembrandt, in the Dresden Gallen . 
Signed artist's proof, on Japanese paper. 

There were printed of this plate 125 proofs only. Plate destroyed. Oak frame. 

•■ In this etching the artist has well succeeded in rendering in black and white 
the marvellous technique of Rembrandt. 

"It seems impossible to follow more closely his broad pencil. The figure is so 
full of life and expression that one would almost believe to be in presence of the 
original painting itself." 




New York. 
Signed by painter and etcher. 

The 14 remarque " is a facsimile of the seal of the Grolier Club. Oak and gold frame. 



" Few etchers of the modern French school have produced such uniformly good 
work." — Philip Gilbert Hamkrton, Etching and Etchers, page 229. 



[MO— Berlin Gallery. 

Folio, half morocco, and nine parts paper. 

1 G46a — Civil War Campaigns. 

11 vols., 8vo, half russia. 

1648— dot. 

1()71 — Seven vols., instead of ten. 

17()6a— Ehrich Collection. 

Illustrated Catalogue. 410, cloth. 

1846.\ — Hesswijk, Collection de. 

Galerie de Portraits, Tableaux Anciens, Antiquites. 2 pans, paper. 



HRUNET-DEBAINES, A. 



144i>.\ — Pastorale. 

After the painting by Corot. 

Signed artist's proof on Japanese paper. Gold frame. 




Books 



1902a— Le Blon Mi did. 

Recueil d'Ornamcnts. Illustrated. 6 pans, unbound, in portfolio. 

2051a — Secret an Co/ lection. 

Illustrated Catalogue. 2 vols., folio, blue levant morocco, gilt edges. Paris, 1880.. 

2072 — Nine vols., instead of ten. 

2()()i _Out. 

2095^ — Sylvius Balthasar. 

C>uatre Suites d'Ornamcnts. Portfolio of illustrations. 

2106— Out. 

- I "-.'Ja — Vianen, Adam van. 

Modelles Artirtciels. 1 vol., boards, illustrated. 

2 1 3&A — W etigwood. 

List of works. Illustrated. Folio, half blue morocco. 54 plates. One part 
unbound. 1 1 plates. 



_ 41 




p 












mI 




















> 







ss 



V / 



rL, ■ If: A *